Games

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Game Informer News Feed - Thu, 10/18/2018 - 03:00

A while back, we pointed out that the official Super Smash Bros. Ultimate site has been posting music samples for the game's new arrangements. It's not surprising, with the game boasting over 900 tracks, they're clearly proud of the soundtrack they're compiling. However, one new track posted this week definitely stands tall among what they've shown so far.

Flash Man's theme rearranged by composer Keiichi Okabe is an utterly fantastic rendition of the old theme with an added bit of guitar preceding it. You might know Okabe from some of his other works, like Tekken, Nier, and Nier Automata, as well. Take a listen below.

Flash Man is one of Mega Man 2's eight robot masters, so obviously his music is going to play on Mega Man's stage within the game. Conveniently, you can change how frequently you hear any song, so if you really dig this arrangement, you could make it the only song that plays on the stage.

Super Smash Bros. Ultimate releases for the Nintendo Switch on December 7.

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Game Informer News Feed - Wed, 10/17/2018 - 23:00

Aloft Studio has announced that its 16-bit action title, Hazelnut Bastille, will launch its Kickstarter campaign in less than a week. The developer had previously announced that Secret of Mana composer Hiroki Kikuta is contributing to the soundtrack.

Hazelnut Bastille takes direct inspiration from The Legend of Zelda: A Link to the Past. Aloft hopes to stay true to the style through visuals, soundtrack, and overall level design. The story focuses on a young girl on a quest to a far-off land to retrieve something that was lost to her. Looking at the trailer below, it's easy to see and hear the Zelda inspiration.

The Kickstarter campaign is set to launch on October 23 at 8 a.m. Eastern and will run through November 29. You can watch the first full trailer for Hazelnut Bastille below.

Hazelnut Bastille is currently set to release on Switch, PC, Mac, and Linux. Additional platforms could be added depending on the success of the crowdfunding campaign; a PS4 release is currently a stretch goal. If you want to keep in the loop about Hazelnut Bastille or try a free demo, head to the official website and sign up for the newsletter.

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Game Informer News Feed - Wed, 10/17/2018 - 22:30

Square Enix's The Quiet Man, an extremely odd single-sitting narrative adventure beat 'em up, will be getting its main title theme from Grammy-nominated artist and songwriter Imogen Heap. Nothing more is known about the track, but Square Enix insists they will give more details at a later date.

It was also found by Gematsu this week that The Quiet Man will be playable with sounds and speech in subsequent playthroughs. The first playthrough of the game has no sound or dialogue that lets the players interpret the story in their own way. If you want to know how it was actually written, you can play the game a second time. From a Square Enix stream, the publisher said they want the player to understand what it is like to be deaf, like the protagonist Dane.

The Quiet Man releases on PlayStation 4 and PC on November 1.

Categories: Games

Persona 3 And Persona 5 Dancing Trailers Show Off The Shadow-Hunting Teams

Game Informer News Feed - Wed, 10/17/2018 - 20:10

Atlus has released new trailers for the upcoming Persona rhythm games, Persona 3 Dancing in Moonlight and Persona 5 Dancing in Starlight. Both games had focuses on teams of teenagers coming together in shadow-busting groups, with Persona 3 establishing the Specialized Extracurricular Execution Squad, or S.E.E.S, to solve the mystery of the midnight hour.

Check out the Persona 3 Dancing trailer below.

Similarly, Persona 5 had the Phantom Thieves, who stole hearts to reform society's adults and admit their crimes against others. You can check out their trailer below.

Persona 3 Dancing in Moonlight and Persona 5 Dancing in Starlight are being released December 4 on PlayStation 4 and Vita. The PlayStation 4 version is getting a bundle of both games, which includes a PS4 remaster of Persona 4 Dancing if you want the entire series on the console.

Categories: Games

Call Of Duty: Black Ops 4 Review - Big Changes

Gamespot News Feed - Wed, 10/17/2018 - 18:57

As a continuation of the Black Ops subseries, Call of Duty: Black Ops 4 both benefits from and is limited by its past. All three of its major modes--multiplayer, Zombies, and the new battle royale mode Blackout--pull from and build upon previous games. Multiplayer is largely successful in its mix of old and new, while Zombies struggles more with dated elements. Blackout, though, strikes an excellent balance, putting a clever Call of Duty spin on a genre entirely new to the series.

While Black Ops 4 doesn't have a traditional single-player campaign, it does have a helpful set of character-focused tutorial missions. Called Specialist HQ, it introduces you to each of the 10 multiplayer Specialists one by one, taking you through their unique abilities and a practice multiplayer match. It does have a bit of a story and some gorgeous (and gory) cutscenes threading each mission together, but it's all in service of getting you acquainted with the new Specialist mechanics--which is well worth the three or so hours it takes, since some of those mechanics appear in Blackout as well. One mission even weaves in a bit of general Zombies training, an unexpected but welcome touch that helps make the largely separate modes feel a little more cohesive.

Multiplayer

Multiplayer is the most straightforward of the modes, and Black Ops 4 attempts to be more tactical than previous entries. The wall-running and thrust-jumping of Black Ops 3 is gone, replaced with weighty, grounded movement, and healing is now manual and on a cooldown timer. The combination forces you to be more thoughtful about your positioning, since you can't just jet and dodge enemy fire until your health regenerates--you need to make sure you have adequate cover and time to heal yourself in your immediate vicinity. This encourages a slightly slower, more cautious pace on an individual level, and it's refreshing to play it smart instead of just fast. But time-to-kill is still low and respawning still near-instant, ensuring that matches don't stagnate.

The more tactical feel extends to the Specialists, which build upon those introduced in Black Ops 3. Each has a unique weapon and equipment with a specific combat focus, like area control or high damage output. Each Specialist's weapon is tied to a longer cooldown and functions as a superpowered attack (or defensive ability, in some cases), while their equipment varies from a special grenade to trip mines and other gear with a clear strategic purpose. This includes roles other than offensive ones--there's even a pseudo-healer Specialist, Crash--and it's a change that gives multiplayer more variety.

Certain Specialists and strategies are more useful in some game types than others, though. Area control is best for objective-based modes like Domination, for example, and far less effective in the more scattered Team Deathmatch. Generally, your choice of Specialist and your team's composition won't matter in any mode if you aren't skilled in basic shooting and positioning, even if you're in a more defensive or supporting role. This means you can play selfishly and still emerge victorious, which works well for those of us who often solo queue and would rather not risk trying to communicate with randoms. But it can also make playing support-focused Specialists less rewarding if you aren't working as a team, since your efforts are useless if your teammates don't take advantage of them. It's a surprisingly good balance overall, though, giving you the flexibility to be only as tactical as you want or are able to be and enjoy the match regardless.

The map design, too, facilitates that flexibility. Each map has areas perfect for different Specialists to take advantage of, like blind corners where Nomad's trip mines can take enemies by surprise or high ceilings where Recon can shoot and hide his Sensor Dart that reveals enemies on your radar. But the long and narrow three-lane structure each map is built on is a strong foundation for more traditional shooting as well, with both long sightlines good for sniper and tactical rifles and tight spaces for close-range automatic weapons.

The Specialist strategies are best showcased in the new Control, an objective-based mode in which each team, one attacking and one defending, shares 25 lives. You win by either exhausting all of the enemy team's lives or gaining or maintaining control of the two objectives. A defensive Specialist like Torque, who has Razor Wire perfect for placement under windows and a Barricade "weapon" for extra cover, is a great option if you're trying to hold an objective, for example. An offensive Specialist, on the other hand, can aim to wipe out the enemy team.

Zombies

Black Ops 4's Zombies is as broad as it is deep, with two separate storylines across three maps (or four if you have the Black Ops pass included in the game's special editions). The first two, IX and Voyage of Despair, are part of the brand-new Chaos story, while Blood of the Dead and Classified round out the selection of maps to make up the returning Aether story. All of them follow the familiar Zombies formula--fighting waves of the undead, saving money to access better weapons and new areas, and uncovering wacky secrets and puzzles along the way--but each has its own quirks that take time and effort to discover.

The Chaos maps are strong aesthetically, with rich level design and clever puzzles to match--draining water that has seeped into the Titanic's depths so you don't drown while searching for other secrets, for example. Like previous Zombies maps, a lot of the fun comes from figuring out how the map ticks while also trying not to die, and both IX and Voyage of Despair have the complex layouts that lend themselves to thorough yet hectic exploration. Voyage is a personal favorite, with narrow, creepy hallways and presumably drowned zombies that have water gushing from their heads.

On the Aether side, Blood of the Dead is based on Black Ops 2's Mob of the Dead, while Classified is a reimagination of Black Ops' Five. Although they're definitely familiar, there are still surprises to entertain returning players--some puzzles don't unlock what you expect them to unlock, for example. However, the Ultimus crew hasn't aged particularly well, even considering that each of them is stereotyped to the extreme. The jokes just don't land anymore, especially Takeo's overdone Japanese accent where Ls are replaced with Rs at every opportunity. In Blood of the Dead it's distracting, but in Classified, lines about the Emperor and eating sushi are just plain offensive. You'll also hear these same lines every time you start a new run, which doesn't help.

On top of the already hefty amount of Zombies content, Black Ops 4 introduces a new mode of fighting the undead, Rush. It's a much faster-paced version of Zombies where you don't have to do any thinking or puzzle-solving; you're just there to kill them horde-style. There's no money, so you don't need to save up to buy a weapon or unlock a door. You're instead told which area will have the next Rush wave, and you're directed from room to room as you go. It's too intense to be a tutorial, per se, but it's a great way to familiarize yourself with the map, test weapons, and plan where to go next if you get stuck in Classic mode.

Blackout

The third and most exciting of Black Ops 4's three main sections is, of course, Blackout. Like other battle royale games, Call of Duty's take puts 100 players on one map with the goal of being the last person or squad standing, and a collapsing circle of death forces you in closer and closer proximity. It's unlike anything Call of Duty has done before, and slight alterations to its mechanics, like the addition of bullet drop on some weapons, help it adapt to the very different gameplay style.

Brilliantly, experience in both multiplayer and Zombies benefits you in Blackout. Perks and Specialist equipment can be looted during a match, and knowing how to both use and counter them can give you an advantage. There are also zombie-infested areas that offer powerful loot at the risk of attracting human players to your position, and that PvE twist in particular helps distinguish Blackout from the likes of PUBG. A successful Blackout round can last over 20 minutes, so if you're impatient or more used to Call of Duty's shorter multiplayer formats, seeking out zombies and causing a ruckus mid-match is a great way to see more action.

The map itself is also distinctly Call of Duty, filled with references to previous games, including the fan favorite Nuketown. Vibrant and varied design makes each region stand out from the next, and the map as a whole is easy to navigate as a result. That in turn facilitates the strategic movement and positioning necessary to succeed; it's easy to pivot if a lot of other people are nearby, for example, if you know where you are in relation to the next-best loot area.

The combination of Call of Duty-specific mechanics with PUBG-style health, loot, and shooting systems is executed well, with quality-of-life improvements to UI--notably, you can quick-equip weapon attachments without going into your menu. The twists are balanced, too, and the Specialist equipment in particular doesn't make things feel unfair. Like in multiplayer, you can ignore anything you don't want to bother with, and survival ultimately comes down to your situational awareness, your skill with various weapons, and a bit of luck with looting and the circle. That makes victory feel earned and, as a result, immensely gratifying--Blackout definitely captures the tense, shaky excitement that makes battle royale such a popular genre.

Black Ops 4 isn't short on content, and its three main modes are substantial. Multiplayer introduces more tactical mechanics without forcing you into them, and it largely strikes a good balance. Zombies has multiple deep, secret-filled maps to explore, though its returning characters don't hold up and prove distracting. Finally, Blackout pushes Call of Duty in an entirely new direction, making use of aspects from both multiplayer and Zombies for a take on the battle royale genre that stands on its own. Sure, there isn't a traditional single-player campaign, but with the depth and breadth of what is there, Black Ops 4 doesn't need it.

Categories: Games

SoulCalibur 6 Review - Transcending History

Gamespot News Feed - Wed, 10/17/2018 - 08:01

What truly distinguishes SoulCalibur from its genre contemporaries is a pervading sense of adventure. It tells a grand tale of knights and ninjas, axe-wielding goliaths and pirate warriors, all struggling over mythical weapons of good and evil. It accents this with a rousing orchestral score and grandiose narrations about entwined destinies and inescapable fates. Sure, deep and rewarding mechanics are at the heart of every good fighting game--and SoulCalibur VI certainly has that--but for this series, adventure has always been the soul.

That spirit of adventure is most evident in SoulCalibur VI's two story modes. Libra of Souls is the meatier of the two and takes inspiration from SoulCalibur II's beloved Weapon Master Mode. It's part fighting game, part role-playing game, part Dungeons & Dragons campaign; you create your own unique fighter using a creator that, while serviceable, isn't nearly as robust as the one in Bandai Namco's other fighter, Tekken 7. From there you embark on a journey that will take you across the world, and along the way you'll cross paths--and swords--with both named characters and generically named bit-parters.

Libra of Souls tells its story primarily through text, but it's all surprisingly engaging, with dialogue and descriptions setting the stage for the inevitable fight and giving even its throwaway opponents a bit of flavour. The story's conceit for making you travel around the world is that you're "malfested" with an evil energy and must absorb Astral Fissures to stay alive. Although you're ushered between main quest missions, various side-quests pop up around you, with NPCs asking for a hand solving their problems. Naturally, the solution each time is a sword-swinging contest, but the game does a valiant job of world building along the way to give texture to its fantasy universe. You'll learn that Ceylon is a major producer of cinnamon, which is favoured by royalty and thus very precious, and that hamlets are being decimated by a rampaging Azure Knight with a thirst for souls. You'll meet a would-be entrepreneur who, while affable, is mostly after handouts; a weaponsmith who is looking to impress the royal family to win a contract; and a priestess who doubts her abilities, among others.

Completing these missions rewards you with experience that levels you up, and this is where the RPG hooks are strongest. As you grow, you'll be able to use stronger weapons that have different visual styles and properties. Enemies also become hardier and, on top of that, special battle conditions spice up fights. These may make one type of attack more effective while decreasing the strength of others, thus forcing you to diversify your skillset within the battle system. Another wrinkle to the RPG mechanics is the ability to select a food item to take into battle. These bestow bonuses such as increased counter damage, a boost to health at the start of a new round, or extra experience for a win, to name a few. If you’d rather let someone else do the dirty work, you can visit the Mercenaries Guild and hire a fighter, outfit them with a weapon and food, then send them into battle. At best the AI will secure a victory; at worst they’ll knock off some health from the enemy before you step in.

There are also little touches in Libra of Souls that reinforce the idea that you're a wandering warrior on an epic journey. One of them is an indicator at the top of the world map that ticks down the years as you progress, establishing a passage of time as you bounce between locations and fights in rapid succession. Another is the decision-making moments, some of which will simply dictate how you act towards a character, while others will weigh your soul towards good or evil, impact the story, and decide how the ending battle plays out. The eventual consequence of your actions is small, but it's a neat way to give you a tiny bit of authorship in the story.

The main issue with Libra of Souls is the ratio of storytelling to actual gameplay. The mode is very text-heavy, which would be less of a problem if its battles weren't so quick. In the hands of a capable fighting game player, many enemies can be dispatched within as little as 10 seconds, which means time spent in Libra of Souls is heavily skewed toward reading over fighting. And although the loading screens before and after battles are quite short, they can become increasingly tedious. The mode is also lacking in variety, so beyond the occasional battle condition, it does very little to keep you on your toes. For the most part, applying an aggressive strategy will see you emerge victorious.

The second mode, Soul Chronicles, is a more typical take on a fighting game story but is still expansive and has an interesting approach to laying out its narrative. It features a main story that chronicles what happens with the legendary Soul Edge but supplements this with 19 character-specific campaigns, drilling down on what they're doing while the broader story takes place. Although they're heavily reliant on static artwork, they're fully voiced and the artwork itself has an eye-catching, sketch-like style. There's a microcosm of Libra of Souls' issues here too, though, as battles can be over in the blink of an eye, and that means more hitting buttons to advance text.

Nevertheless, Libra of Souls and Soul Chronicle make for a satisfying single-player offering, with the former lasting upwards of eight hours and the latter taking around four. Idiosyncrasies aside, both give you plenty to do and provide a comprehensive, engrossing story throughout. By the time it's over, you'll have travelled the world, met a variety of colorful characters, and fought all manner of strange creatures. Quite the adventure.

SoulCalibur VI doesn't demand hours of study and experimentation ... you can pick up a controller and feel like you're competent in no time

The beauty of SoulCalibur's gameplay is its simplicity, and in that respect SoulCalibur VI is a bit like rock-paper-scissors. At its most superficial, the rules of engagement are simple and the pace of battles means decision-making is based on instinct as much as considered tactics and being reactive. Admittedly, the same can be said of most fighting games, but unlike them SoulCalibur VI doesn't demand hours of study and experimentation to do this; you can pick up a controller and feel like you're competent in no time. Although there are complicated systems and techniques to consider, an inability to interact with them doesn't loom over you. Before long vertical attacks will reveal themselves as powerful but slow, you'll quickly realise that horizontal attacks interrupt sidesteps and are a safe way to apply pressure, and kicks are a nice balance of the two but with limited range. It takes little time to internalize those fundamentals, and so their intricacies become apparent quicker than in most fighting games. Throw in blocking and movement, both of which are intuitive, and the pick-up-and-play factor becomes a key strength of SoulCalibur VI.

The surface simplicity belies more complex systems beneath, and SoulCalibur VI is mechanically dense. It layers systems from throughout the series on top of each other so even veterans will need to examine the individual pieces and figure out how they fit together. Although each character has a relatively limited range of attacks, the eight-way run movement lets you modify them. Attacks also land at different heights--high, mid, and low--and in turn blocking becomes a three-tiered system. More confident players can react to an attack by executing a last-second Guard Impact to repel and leave their opponent open, but a staggered player can retaliate with a Reversal Impact--a reversal reversal.

From there it only gets more complicated. Reversal Edge is a special stance that will counter incoming attacks at any height. It's executed with a single button and the longer it's held the more attacks it can absorb. This makes defending against an onslaught of attacks really easy, but the ease of execution means it also steps on the toes of the more skill-based Guard Impact. Reversal Edge seems to be aimed at casual players as, while a successful Guard Impact places the initiator in a more advantageous position, Reversal Edge establishes a neutral playfield by initiating a clash. Here the action slows, the camera swoops in close, and the two fighters effectively bet on what the other player will do and counter it. This is a useful way to create some breathing room when being smothered, but the guessing game leads to a feeling of randomness that can be frustrating. The workaround here is to land an unblockable break attack to stop a Reversal Edge.

Beyond that there are Critical Edges, which are the game's equivalent of super moves. These are governed by the Soul Gauge, which is built up by attacking, defending, and taking damage. Once one level is attained, it can be spent on executing an incredibly powerful and outlandish cinematic attack. A Soul Gauge can also be spent on a Soul Charge, a comeback state of sorts that opens a separate set of moves up for a character to use, powers up normal attacks, and makes them cause damage to blocking opponents for a brief period.

Click image to view in full screen

Those are just a few of the systems in SoulCalibur VI, so for those that want to become students of the game, it offers plenty to learn. However, at times it can also feel needlessly complex. This is likely a symptom of creating a collection of systems that give the hardcore fighting game players the depth they crave while also enabling casual players to stand their ground against them. On paper that might seem like a good approach, but the end result is a construction that is at odds with itself, as if built out of both K-Nex and Lego--the simpler parts undermine the complex ones, and although it works, it's inelegant. A good player with an understanding of all the systems will almost always triumph over someone only making use of the basic ones, so the biggest issue this superfluousness presents is that it makes the path from casual to expert a little less appealing to walk. That complexity is overwhelming when it doesn't need to be, and if there are simpler and easier options there's less incentive to dig beneath the surface.

SoulCalibur VI is a fighting game that's easy to recommend. Like all the best titles in the genre, it has a low barrier to entry and high skill ceiling. For those looking to get in a few games with friends it's welcoming and immediately enjoyable. For those committed to ploughing the depths of its systems to get tournament ready, it has plenty to unpack and understand. Better still, those that want to play alone will find SoulCalibur VI has some of the most substantial single-player content in any fighting game today.

At the time of writing, SoulCalibur VI's online servers aren't live. GameSpot will test the game post-release and update this review with an assessment of its online performance.

Categories: Games

Battlefield V's Single-Player Trailer Goes Globetrotting

Game Informer News Feed - Tue, 10/16/2018 - 15:04

Today Battlefield V offered a decidedly cinematic look at its single-player campaign. Like Battlefield 1, V's campaign will be a series of short stories that will be taking place across the world with multiple protagonists.

Though there doesn't appear to be any gameplay to speak of in the trailer, you can watch it in all its globe-bouncing glory above.

For more on Battlefield V, check out our last look at Battlefield V.

Categories: Games

Battlefield V's Single-Player Trailer Goes Globetrotting

Game Informer News Feed - Tue, 10/16/2018 - 15:04

Today Battlefield V offered a decidedly cinematic look at its single-player campaign. Like Battlefield 1, V's campaign will be a series of short stories that will be taking place across the world with multiple protagonists.

Though there doesn't appear to be any gameplay to speak of in the trailer, you can watch it in all its globe-bouncing glory above.

For more on Battlefield V, check out our last look at Battlefield V.

Categories: Games

Armello Review - Nintendo Switch Update

Gamespot News Feed - Tue, 10/16/2018 - 01:01

[Editor's Note: We have updated this review to reflect our experiences with Armello's Nintendo Switch version]

Armello's hybrid of tactics, dice-rolling, and political intrigue has aged better than expected in the three years since its release, and on Nintendo Switch, the game is almost as formidable as it is on PC. Its charming blend of animal kingdom hijinks and turn-based strategy gameplay has yet to be replicated by a newer, flashier title; Armello has definitely held up well, and its uniqueness is undeniable. However, there are a few major differences between PC version and Switch releases, and not all of them are positive.

The most important distinction is the fact that the Switch version includes all of Armello's DLC content. The Complete Edition of the game includes a bunch of morally-grey heroes, seasonal effects, and a whole new clan to contend with. While the base game has a fair amount of material to keep you occupied, a criticism of the launch content was that particular victory styles were incentivized over others. At their core, the DLC packs attempt to address that by expanding your potential champion pool with heroes that operate very differently from the original ones in the base game.

Luckily, the champion pool increase is more than just a numbers game. The Usurpers DLC in particular has heroes which are brimming with devilish personality, along with playstyles that revolve around more than the just original victory avenues of skirmishing and keeping a death grip on the King's coffers. The Bandit Clan DLC adds around 50 new quests specific to this charismatic new faction, along with a thematically-appropriate follower that gives risk-taking players a second chance when taking up arms against their competition. The other DLC packs focus on mostly aesthetic and minor upgrades to dice variety, but they're still notable improvements on the range of material that was initially available.

The unfortunate change to the Switch version is the performance. Unlike the DLC additions that are, on the balance of things, a net positive, Armello doesn't run as nicely on Nintendo's console as it does on other platforms. It's not the sort of frame rate drop that makes the game unplayable by any means, but there's a clear disruption in the smoothness and timeliness of actions and animations that play out on the screen when you're in-game. This isn't something that you can attribute to online connection troubles either; some graphical degradation was experienced in playing against the AI in the Prologue segments, which in itself contained condensed elements of the game's mechanics. If you can put that to one side, then Armello's unique blend of strategy makes it a worthy pick-up on Switch. -- Ginny Woo, 10/16/2018

[Original review text follows below]

When you don't have three friends and some reasonably good beer to keep you engaged, a board game--especially a virtual recreation of one--has to work a lot harder to hold your attention. Armello accomplishes this and then some, and while it could use some fine tuning, it remains one of the best virtual board game experiences available.

At first glance, Armello can feel like a tangle of things--dice and cards and boards and coins and stats--but the quick four-part prologue does a good job of making sense of these pieces. Your primary actions include moving a character around the board to complete quests and avoid hazards. There are eight playable characters, and each character has different strengths, weaknesses, and abilities in addition to items they can equip to skew their stats in a slightly different direction. They also each have great-looking combat animations. Ever wish Disney's Robin Hood had 40% more bears punching each other senseless? Well, this game is for you!

As if you can't tell Brun means business, in a world full of anthropomorphized animals, he's wearingsomeone's head as a belt buckle.

To win in Armello, you have to either kill the king or have the highest prestige when the monarch dies due to a disease called the rot. Every full day--one turn for day and one turn for night--the King's health dwindles lower while his rot creeps higher, so no matter how things shake out, there are a finite number of turns that can be taken before the King will keel over on his own. It's also possible to defeat the King in combat, either by gathering four spirit stones from quests or tiles, or gaining a higher rot level than him. If a would-be assassin fails, the victory will automatically be handed to the prestige leader. Unless you're playing against clever friends, a prestige victory is almost always the easiest way to win. This can make the game feel unbalanced, especially when playing against AI opponents that frequently make ill-advised assassination attempts. That said, if you can resist the siren song of an easy victory or have other players wanting to spoil your plans, the varied win conditions provide enough variety to accommodate different play styles and keep things spicy through multiple sessions of playing with friends.

You also have a hand of cards--which are as well-animated as the characters themselves--that can be anything from equippable items and followers to spells and tricks that can be applied to yourself, other actors on the board, or specific tiles. Imagine if you could slam your Hearthstone deck down on a Clue board and swarm Professor Plum with Murlocs, and you have an accurate idea of just how neat this is in practice. Cards all have different costs to play, and crucially, they can be played regardless of whose turn it is. This allows for some tense moments and sharp twists in matches with other human players. On the other hand, when it comes to the A.I. opponents, the game tends to jump around a bit too fast to take full advantage of that ability unless you're particularly quick on the draw.

Long live the king!

What Armello suffers from most is a lack of customization options, something it could have stood to learn from more-traditional strategy games. There's no way to define whether you want a quick or a long game, A.I. skill levels are static, and when you're playing with friends, you're bound to a move timer whether you like it or not. Graphics controls are also somewhat limited, which means that you won't be able to turn off the haze of clouds in the sky, which would be dlightful if you didn't have to look down through them when you zoom out to see the full board.

Armello picks and chooses a variety of elements from board, card, 4X, and role-playing games without demanding either a familiarity with or a fondness for any genre. It also leaves a lot of room to engage as deeply as you want with the game's guts without feeling like you're floundering if you don't. Whether you're bumbling your way to the top or playing all your cards right, Armello makes regicide ridiculously entertaining.

Categories: Games

Starlink: Battle for Atlas Review - Endless Space

Gamespot News Feed - Tue, 10/16/2018 - 00:00

Starlink: Battle for Atlas is a game about flying through space, exploring new planets, and shooting a lot of aliens. Set in a seamless open-world galaxy, it sees you pushing back occupying forces by battling enemies, setting up outposts, and completing simple tasks set by your allies. For better and worse, it's a distinctly Ubisoft game, from the huge spaces (seven separate planets and the vast depths of space that separate them) to the maps overloaded with activities. But thankfully, Starlink is not quite so full that it feels bloated--just full enough so that there's always something for you to be working towards.

Starlink is also Ubisoft's entry into the toys-to-life market--you're able to buy physical packs of pilots, weapons, and ships, all of which are interchangeable and have their own unique attributes and abilities. Constructing and attaching these models to your controller using a specialized mounting device will give you access to those characters and tools in-game, and while swapping between all these components isn't necessary, doing so brings distinct advantages.

Starlink's combat is fun thanks to simple controls and the two weapon system--different enemies are weak against or impervious to different weapon types, and swapping the two weapons mounted on your ship will change your methods of attack and the kinds of elemental combos you can perform. Using a stasis missile on an enemy so that they float helplessly in mid-air, then setting them alight with a flaming minigun, never gets old. Every weapon can be leveled up individually and augmented with mods that you collect, so by the end of the game, your most-used guns will likely be able to absolutely rip through certain enemies, provided you have the foresight to equip them.

When you're grounded on a planet, you'll be doing a lot of strafing and aiming for big glowing weak points, whereas fights in space are more freewheeling, with dogfights often pitting you against swarms of enemy fighters. These feel like all-range mode battles from Star Fox, and swinging around to land a precision assault on an enemy (often thanks to the game's rather generous auto-aim) is satisfying every time. The controls for each ship are the same, but there are minor differences between them; a light ship is better for maneuvering through a delicate situation on the ground, for instance, while a heavier ship can take more hits during battles.

Like weapons, each pilot has their own upgrade tree and unique special ability, and they even get their own unique script during missions, which is a great touch. There are only a few big story-driven missions, and in the back half of the game, you're given some freedom as to how you go about weakening the enemy forces. There's an order of operations in each sector of space--clear out mining sites guarded by enemies to weaken 'Primes,' which are big robot monsters on each planet. Killing Primes on planets that are near each other will weaken a related Dreadnaught, a giant spaceship that will, in turn, produce more Primes if you don't take it out too.

The one drawback to this structure, though, is that you're essentially taking on the same kinds of fights with occasional difficulty spikes. Taking out the game's three Dreadnaughts will make the final boss easier, and you can theoretically take on a Dreadnaught at its maximum strength regardless of how under-leveled you are. It's repetitive, but you also get a good sense of your progression, and the feedback loop of loot and rewards hits a good balance where you rarely feel like you're stuck grinding. The battles might repeat a lot, but they're consistently entertaining, and figuring out the best way to take down a huge enemy with the tools you have on hand is a satisfying challenge. The Dreadnaughts are particularly fun to take down--every time you take out one of their mounted guns a swarm of enemy ships will attack, leading to the game’s most intense dogfighting, and each encounter ends with a Star Wars-inspired "fly into the center and destroy the core" sequence.

If you're playing on Nintendo Switch, you'll have access to Fox McCloud and his Arwing. He can call in one of the other members of Star Fox, complete with the Corneria theme from the original game, and if you're a fan it's very tempting to play as him the entire time. The Switch version consistently runs smoothly, although there's a visual trade-off. The planets are not particularly detailed, everything's a little fuzzier in handheld mode, and there's a lot of pop-in--it's weird to have an asteroid belt suddenly appear in front of you when you're flying towards a planet.

But the Star Fox fan service throughout the game is a great bonus, especially in the mini five-mission campaign in which the team hunts down long-time antagonist Wolf O'Donnell. Wolf is a much more interesting enemy than Andross, as it turns out, and while this campaign is short it feels true to the spirit of the series. Fox and his team get integrated into the rest of the game, too, popping up in cutscenes with the rest of the Starlink crew.

Unfortunately, the game's primary plot--which concerns a crew of adventurers trying to save their captured captain and take down the "Forgotten Legion" forces led by an alien named Grax--is much less exciting. Strangely, despite Battle For Atlas being the first and only existing game in the Starlink series, the script feels as though it's written for players who have a pre-existing relationship with these characters and their situation, meaning that there's not much in the way of pathos or catharsis to be found. Some of the characters are interesting, but even though the game is keen to throw lore at you there's little sense of who these characters are, what sort of universe they exist in, or even what their fundamental role is beyond needing to take down this enemy force.

Despite this, it's always clear what your overarching objectives are and how you need to work towards them. There's a lot that you can be doing at any given point--even in the vastness of outer space, there are wrecks to salvage gear from and enemy outposts to take down. Wrecks can be identified from their flashing beacons and usually contain loot, while outposts are added to your map as you chase outlaws from planets. Exploring the depths of space reveals plenty of neat loot and fun encounters and the thrill of taking off from one planet, seamlessly flying into space, and landing on another never gets old.

But Starlink's proposition as a toys-to-life product is hampered somewhat by the comparative financial value of the digital alternative. The physical starter pack varies in content between consoles, but they each give you far less than both the starter and deluxe digital versions, which unlock multiple ships, pilots, and weapons from the get-go. If you get the physical starter pack and don't want to buy additional toys you can still finish the game, but you'll be at an enormous disadvantage.

Having multiple ships in Starlink essentially operates as having extra lives--if you get wrecked during a battle you can choose to either quit or replace the ship immediately. If you don't have a replacement, certain battles are going to be a real struggle, and progress doesn't carry over when you come back to them. It's easy to lose a ship, too, especially since your defensive options during fights are often limited--you can summon a shield or barrel roll, but both eat into your limited energy supply, which takes a while to recharge. The digital starter pack gives you four ships (five on Switch), which feels fairer and lets you worry less during big battles. Between ships and weapons (pilots are less vital), you'd have to buy quite a few toys if you wanted a varied and balanced experience.

The ship models themselves look great, though, and while switching loadouts via the menus is always going to be the more convenient option, physically swapping out the components will pause the game the until your ship is completely decked out again. Changing pilots will require you to remove the entire ship first, but that's only a minor pain--the only real impediment is being able to remember which weapon does what by sight, but their designs are distinctive enough that this isn't an issue once you get accustomed to it to them.

Starlink is an interesting and enjoyable open-world game, one that fully understands the appeal of exploring new planets and dogfighting in the cold depths of space. With a small fleet of ships at your disposal, it can be a lot of fun to progressively assault and weaken the Forgotten Legion's hold on the galaxy. It's just a shame that if you're interested in the physical models, you'll have to spend more to get the same experience as the digital version.

Categories: Games

You Must Build A Boat Creator's Photographs Slips Into Next Year

Game Informer News Feed - Fri, 10/12/2018 - 18:05
 

Photographs is the next game from Luca Redwood's EightyEight Games, the developer behind 10000000 and its sort-of sequel, You Must Build A Boat. Since its reveal, Redwood has said it would be releasing this year, but it looks like we're going to have a wait a little bit later. Redwood doesn't have a specific release date, but says that it has moved into 2019.

Along with the new release window, Redwood has offered new screenshots, the GIF you can see above, and a new developer diary, which you can see below.

For more on Photographs you can watch us play the game here.

Categories: Games

Max Payne's Voice Actor Returns To The Studio That Created The Character For Control

Game Informer News Feed - Fri, 10/12/2018 - 17:10

As part of its presence at New York Comic Con recently, Remedy Games revealed the cast for its upcoming game, Control, revealing it to be a reunion for the developer.

James McCaffrey is playing Zachariah Trench. McCaffrey provided the voice of Max Payne for all the Max Payne games, including Max Payne 3 which was not developed by Remedy.

Dig into the character development of @ControlRemedy's key players with the latest installment of Dev Diary. pic.twitter.com/aJTzjbPEzU

— PlayStation (@PlayStation) October 10, 2018

Matthew Porretta is playing a character names Dr. Casper Darling. Porretta played the eponymous Alan Wake in the main game as well as in the "sequel", Alan Wake's American Nightmare.

And Courtney Hope, as we learned at E3 earlier this year, is playing Control's main protagonist, Jesse Faden. Hope played Beth Wilder in Quantum Break.

Between the three of them, they're covering about 17 years of Remedy history. For more on Control, head here.

Categories: Games

Max Payne's Voice Actor Returns To The Studio That Created The Character For Control

Game Informer News Feed - Fri, 10/12/2018 - 17:10

As part of its presence at New York Comic Con recently, Remedy Games revealed the cast for its upcoming game, Control, revealing it to be a reunion for the developer.

James McCaffrey is playing Zachariah Trench. McCaffrey provided the voice of Max Payne for all the Max Payne games, including Max Payne 3 which was not developed by Remedy.

Dig into the character development of @ControlRemedy's key players with the latest installment of Dev Diary. pic.twitter.com/aJTzjbPEzU

— PlayStation (@PlayStation) October 10, 2018

Matthew Porretta is playing a character names Dr. Casper Darling. Porretta played the eponymous Alan Wake in the main game as well as in the "sequel", Alan Wake's American Nightmare.

And Courtney Hope, as we learned at E3 earlier this year, is playing Control's main protagonist, Jesse Faden. Hope played Beth Wilder in Quantum Break.

Between the three of them, they're covering about 17 years of Remedy history. For more on Control, head here.

Categories: Games

See Mark Hamill, Gillian Anderson, Henry Cavill, And More In Star Citizen's Squadron 42 Campaign

Game Informer News Feed - Thu, 10/11/2018 - 18:58

This week at CitizenCon, a new trailer launched for Star Citizen's Squadron 42 campaign. And, boy, the single-player mode is packed with some star-studded talent. 

The footage focuses on the cinematics and voice acting, with a short action sequence at the end, which you can see above. It also provides a chance to view the celebrity talent involved. So far it looks like you can expect to see the likes of Gillian Anderson, Mark Hamill, Henry Cavill, Gary Oldman, Mark Strong, John Rhys Davies, Liam Cunningham, and Ben Mendelsohn in action. We previously saw some of this mode about a year ago

It's no surprise Cloud Imperium Games had the funds to cover such a famous cast. Its crowdfunding campaign has so far earned it $195,170,562, from over 2 million people.

There is still no official release date for the project. 

Categories: Games

See Mark Hamill, Gillian Anderson, Henry Cavill, And More In Star Citizen's Squadron 42 Campaign

Game Informer News Feed - Thu, 10/11/2018 - 18:58

This week at CitizenCon, a new trailer launched for Star Citizen's Squadron 42 campaign. And, boy, the single-player mode is packed with some star-studded talent. 

The footage focuses on the cinematics and voice acting, with a short action sequence at the end, which you can see above. It also provides a chance to view the celebrity talent involved. So far it looks like you can expect to see the likes of Gillian Anderson, Mark Hamill, Henry Cavill, Gary Oldman, Mark Strong, John Rhys Davies, Liam Cunningham, and Ben Mendelsohn in action. We previously saw some of this mode about a year ago

It's no surprise Cloud Imperium Games had the funds to cover such a famous cast. Its crowdfunding campaign has so far earned it $195,170,562, from over 2 million people.

There is still no official release date for the project. 

Categories: Games

Child of Light Review

Gamespot News Feed - Thu, 10/11/2018 - 18:30

There are times I want to be sad, when I'd rather be all alone, quietly thinking about my life, or hugging a loved one to forget about the day's trouble. Child of Light embraces that melancholy beautifully and its various elements cultivate a doleful mood. From the overgrown foliage threatening to overtake the neglected environments to the tired inhabitants wasting away their days, there's a somber tone that permeates this storybook adventure. I was struck by that desperation in the whimsical poetry of the dialogue; conversations are constructed with overtly meticulous rhymes that betray the bewilderment building below the surface. And the docile piano melody made my heart all the heavier. Child of Light is a lovely adventure, a journey as remarkable as it is uncommon, that left me grappling with my own sadness.

I wasn't so accepting of Child of Light at first. The delicate artistic style is so immediately inviting that I had imagined a world opening before me that I would want to exist in. That's because I had mistaken color for happiness. Child of Light is not about fleeting joy, and so, when the sorrowful tone endured as I ventured on, I struggled to find my bearings. I waited for a lightheartedness that never arrived, so I fought against the energy that Child of Light was putting forth. But as I pushed deeper inside of this dreamlike world, I stopped resisting and opened up to the game. Child of Light is difficult in ways that I hadn't expected, and is incredibly effective if you allow it to work its magic.

It's in the earliest moments that the game reveals its true nature. A story told through stained-glass imagery shows the protagonist Aurora's inseparable relationship with her father, and tells of how their bond was torn asunder. One night, she rested her head upon a pillow, and never awakened when a new day dawned. Her father, the once proud king, was beside himself with grief, choosing to spend his days awash in tears rather than care for his kingdom and the wants of his populace. He was a lost man. Lost, too, was Aurora, who awakened not in her own bed, but in a place she did not recognize. It's a story about fear and betrayal, hopelessness and fortitude, in which every citizen you meet seeks shelter in Aurora's loving arms. Her plight to fight for both her own freedom and her companions' is one we've seen before, though that doesn't detract from the feelings it conjures.

Child of Light is a lovely adventure, a journey as remarkable as it is uncommon, that left me grappling with my own sadness.

Aurora joins up with a jester who has lost touch with her brother, a rodent who craves monetary wealth, and a gnome whose people have been cursed with an avian disease. But it's a firefly who proves to be the steadiest friend. Igniculus floats alongside you as you explore the creaking trees and abandoned homes you drift past on your way to free this land from the misery that it's drowning in. Always with advice on his lips, he can also light the passageway through dark caves and collect treasure that your human hands can't wrest open.

Spiders are cast as villains, as they should be.

When Aurora sets out into this foreign world--barefoot, weaponless, and utterly alone--she clambers upon rocky outcrops as she winds her way through labyrinthine caverns. Slowly but determinedly, Aurora uses ingenuity to scavenge for scraps of treasure, and I felt at one with the environment as I charted a course onward. After reaching her first destination, Aurora was imbued with flight, and the tactile pleasure of forging unknown paths vanished. Once airborne, you can no longer run and jump as you once could, instead floating dreamily through air thick with fog and rain. The kinetic freedom of flight rises and quickly falls away as you continually find your path barred. Thorns rein you in, waterfalls and gales push you away, and those restrictions echo the themes of imprisonment. You're not free; you're trapped and scared and desperate to return home, and those aerial barriers further those feelings.

Enjoy flight when you can. There are treasure chests and hidden passages for those with an inquisitive disposition, and when you're able to break free from the chains corralling you in place, the landscape is too beautiful to not admire. But such appreciation is fleeting. There are enemies lurking--creatures that should have no qualms about your presence cut you down if you drift too close to them. They patrol in the open, marching from side to side along high plateaus or hovering menacingly in dark caverns. You can avoid them if you wish--fly down another path or wait until they turn their backs on you--but Aurora is not one to walk away from a confrontation. She wields a sword almost too heavy for her to carry, and has her heart set only on her freedom, so she doesn't run away from the monsters that stand before her. She longs to fight, relishes in it, and her friends readily join her, eager to damage the foul beasts who roam about their home.

It's a story about fear and betrayal, hopelessness and fortitude, in which every citizen you meet seeks shelter in Aurora's loving arms.

It's in the combat that the sadness that permeates the rest of Child of Light is momentarily halted. The music loses its solemnity as it suddenly becomes fierce, and the characters forget their aching problems for a moment while they focus on the threats that stand before them. Wolves and boars growl their displeasure, flaming birds and ethereal horses bar your path, and you stare them down like only a true warrior can. Although your party balloons as you trudge deeper into this desperate land, only two can fight at one time, while the others swap in when their fists are needed and back out once their energy is spent. It's a frenetic system in which you're continually juggling your party, tapping a healer when you need a boost, matching elemental attacks against your shifty opponents, and finding ways for everyone to contribute.

The energy of these encounters carries a fast-paced excitement that's lacking from the rest of the adventure. That's not to downplay how affecting the quiet moments are, but rather to show how sharp the contrast is. When you're fighting, you're so invested in an immediate threat that you're no longer saddened by the dire world around you. And it's a freeing feeling that exists only because of how different it is from the rest of the adventure. Part of that rush comes from how smartly time is used. Though fights play out in a turn-based manner, you and your opponents race to perform attacks as quickly as you can. Cast haste to get a boost, or hover Igniculus over an enemy to slow it down. Interrupt an attack, and you can infuriate an enemy, cause it to retaliate with anger or cower from frustration. If you're inattentive, your hard work can blow up in your face, so you have to act with exactitude and think on your toes.

The night is dark and full of terrors.

The challenge of these encounters is expertly balanced. Against tougher foes, I always felt out of my element. Would this be the fight where I finally met my end? I would scrape and claw, desperately casting spells while fending off the unceasing threat. My attacks would be interrupted, my characters infected by curses, and yet I pressed on. I would drown enemies in water, blind them with sunlight, and never relent for even a second. I never did lose a battle. Child of Light did a wonderful job of pushing me hard, forcing me to fight with speed and precision, without ever becoming overwhelming. When I won, I would pause for a few moments to take in what I had accomplished. It's a great feeling to come out on top. And though I would invariably level up from such victories, I wasn't drawn to better stats or new powers. It was winning that was infectious. It was embracing the moments of respite amid a sea of sorrow and despair.

Child of Light is a remarkable adventure. I wouldn't have thought that was true during the first couple of hours given that my expectations of what kind of game this was shattered when reality showed its face. But once I accepted the sadness that is so intertwined with every element, I grew so much closer to Child of Light. It's easy to heap praise on the combat because it's so interesting and engaging, and it's certainly a high point in this adventure. That's not what makes Child of Light stand out, though. Rather, it's how confident it is in its own feelings of woe. There are so few games willing to explore that dull ache that I became mesmerized by Aurora's journey, even when I needed to step away from her plight while I regained my composure. Child of Light is a wonderfully realized, somber adventure, and I couldn't be happier that such a game exists.

Editor's note: It has been more than four years since Child of Light first hit consoles. The somber tone that permeates the adventure still resonates deeply, using its delicate visuals and wistful music to capture a feeling of melancholy that still feels incredibly rare. The passage of time hasn’t undermined the sadness that makes this game so welcoming because there is still nothing quite like Child of Light. The transition to the Switch hasn’t hurt the experience in the slightest. Whether docked or in handheld mode, the beautiful artistic design shines through and the controls are smooth regardless of which controller you use.

Because this is the Ultimate Edition, there are bonus features that weren’t included in the original release. A couple of alternate skins for the protagonist are available from the onset along with a few items, one additional skill, and a new mission. It’s still the quiet adventure that is the main draw, though, and whether you’ve never before experienced Princess Aurora’s adventure or simply want to revisit this dreamlike world, Child of Light is just as great as it was years ago. -- October 11, 2018, 10:30 AM PT

Categories: Games

The Missing Review - Lost And Found

Gamespot News Feed - Thu, 10/11/2018 - 14:00

The games of Hidetaka Suehiro (better known as Swery) impart a distinctly identifiable creative vision. He revels in grounding you in the mundane before throwing you off balance with a moment of absurd humor or plunging you into a sequence of fantastical horror. Before you know it, that ground has opened up and swallowed you whole. The Missing: J.J. Macfield and the Island of Memories feels smaller and less ambitious than his most recent works, Deadly Premonition or D4, but it could not be mistaken for anything other than a Swery game. At heart, it is a 2D platformer akin to Limbo or Inside that alternates between ambiguous narrative beats with frequently macabre puzzles, wrapped in a creeping sense of dread. As a puzzle-platformer, it succeeds in testing your timing and your wits despite a couple of overly finicky sections. As a story, it deftly explores themes of teen sexuality and identity with a rare tenderness, though it would ultimately be better served by a guiding hand that wasn't quite so determined to have a big late-game reveal.

You play as J.J. Macfield, a first-year college student living away from both home and the prying eyes of a loving yet conservative mother. On a holiday break, J.J. goes on a camping trip with best friend Emily, who goes missing during the night, spurring J.J. to set off and find her. J.J.'s search takes place on the small Memoria Island off the coast of Maine, whose indigenous name translates, appropriately enough, as "the place to find the lost." Even though it is set on the opposite side of the continent to Deadly Premonition, The Missing sees Swery return to quaint, semi-rural American landscapes where J.J. will travel through fields dotted with windmills, a sawmill, a lonely diner in the middle of nowhere, a bowling alley on a small-town strip mall, a dilapidated church, a highly exaggerated clock tower, and so on.

Early on, J.J. inherits the ability to survive incidents that would otherwise kill you. Fall too far, for example, and you'll land with a sickening crunch. But you won't die--you'll get back up and continue on as a dark, shadow version of J.J., only with, say, a broken neck leaving you dazed and staggering. Lose a leg and J.J. resorts to hopping around and inevitably falling over, severely restricting your movement. Lose your arms and J.J. can no longer pick up objects or climb.

This grotesque mechanic informs a number of the game's puzzles--fail to crouch under a spinning buzzsaw and J.J. might be decapitated. You'll control J.J.'s head, rolling along the ground, and now able to squeeze into otherwise inaccessible crevices. Certain high impact "deaths" result not only in such injuries but flip the entire world upside down, sending J.J. tumbling to the ceiling along with any other objects affected by gravity. At any time, though, you can return this shadow version of J.J. back to original human form--limbs fully re-attached, neck un-snapped, world no longer upside down--thus ending the thematic body horror show and, more prosaically, allowing you to quickly retry that jump you missed or puzzle you mishandled. It is possible to actually die--hurling your decapitated head onto yet another spike trap will do it. But this simply resets you back to the last checkpoint, typically only a few minutes away at the start of the current puzzle section.

The Missing extracts a lot of mileage from this not-really-death mechanic. Together with the physicality of the platforming and the introduction of fire-, electricity- and water-based environmental interactions, puzzles are rarely too obvious and mostly satisfying to piece together. There were only two occasions when progress was halted by what felt like unfair means, where seemingly feasible puzzle solutions were overlooked by pedantic design, but these only make up a small number of the game's challenges overall.

As J.J.'s search continues, key milestones are greeted by the buzz of a mobile phone. Over the course of the game, J.J. exchanges a series of text messages with F.K. (no, not the chap from Deadly Premonition), a childhood plushie toy apparently come to life, and is also able to unlock past conversations with Emily and with her mother. These messages, along with additional conversations with friends unlocked via collectibles, serve to sketch out J.J.'s backstory and gradually, but elusively, relate the events leading up to the beginning of the game.

The buzz of the mobile phone right on the tail of a stressful bit of platforming can feel jarring, puncturing the moment in what feels like a typically Swery way. Tonally, the conversations are all over the place, too, veering from stonewalling a concerned parent to arranging a study session with a classmate, or shrugging at career advice from a professor to telling your plushie to shut up. But they do a terrific job of painting a portrait of J.J.'s life before it was upended by a camping trip. Reminiscent of the audio diaries in Gone Home, these text messages are a heartfelt window into the insecurities and vulnerabilities of a teenager struggling to process the ways in which they don't conform to the expectations of so-called normal society.

The Missing opens with the message: "This game was made with the belief that nobody is wrong for being what they are." It's a sentiment supported throughout, and particularly in its portrayal of the relationship between J.J. and Emily, except for one thing. The way the story structure withholds information--drip-feeding details to maintain suspense, in order to construct a surprise reveal at the end--ultimately feels like it undermines some, but crucially, not all of the good work it does along the way. The game wants to embrace diversity while at the same time treating a part of someone's identity as something of a 'gotcha' moment. It doesn't feel cynical--there are no bad intentions detected here--but its execution comes off as clumsy and its impact is diminished.

The faltering plot twist doesn't detract from the overall experience. The Missing is smaller and more mechanically conventional than Deadly Premonition or D4, but its components remain focused on distinctly a Swery game: a dark, idiosyncratic experience that tells a deeply personal story that's as confronting as it is sincere. It is absolutely not for everyone, but as the game reminds us, there is nothing wrong with that.


Categories: Games

Luigi's Mansion Review - Old Haunts

Gamespot News Feed - Thu, 10/11/2018 - 14:00

Luigi's Mansion was a curious launch title for the GameCube back in 2001, and it's even more curious as an end-of-life title for the 3DS. It's got the feel of an eccentric mid-generation release, a July stopgap to keep you going while you wait for the next major title. But Nintendo's faith in Luigi's Mansion, which has taken on a cult status over the years and has a second sequel due to release on Switch next year, isn't misplaced--the game still has a lot of charm.

Luigi's Mansion sees Mario's put-upon younger brother exploring a mansion after receiving a letter telling him that he won it in a contest. He arrives to find that not only is the mansion haunted and full of ghosts, but that Mario received a similar letter and has not been seen since he entered.

When it released, the game represented a major shift away from the usual Mario format--there's no jump button here. Instead, Luigi has a flashlight and a ghost-sucking vacuum (the Poltergust 3000), which he needs to use to rid the mansion of ghosts and save a captured Mario in the process. You move through the mansion methodically, unlocking new rooms by vacuuming up the ghosts in the ones you've already opened.

The ghosts are divided between your standard ghoulies, 'portrait' ghosts (mini-bosses and bosses, essentially, which have escaped out of paintings), and Nintendo's familiar Boos. Standard ghosts come in a few different varieties--some will grab you, others will punch, throw bombs, or hurl banana peels for you to slip on--and can be vacuumed up once you shine your flashlight at the heart visible in their ethereal chests. When you start up your vacuum, Luigi will be dragged around the room as they try to escape, and you lower their hit-points by pulling the stick away from them, as though Luigi was pulling back, while keeping the vacuum trained on them. It's a fun system, especially when you manage to nab multiple ghosts at once and have to put in the effort to reel them all in.

Luigi's 'Strobulb' flashlight from Luigi's Mansion 2 has also been added. The Strobulb, which can be charged for an extra big flash of light, is useful in a few scenarios--I found that it was helpful for nabbing multiple invisible enemies at once--but the game was designed with a standard flashlight in mind, and I mostly stuck with it.

Portrait ghosts are the main meat of the game and capturing them generally involves solving a small puzzle or figuring out the pattern of their movements. None of them are too complicated--you can examine each portrait ghost for a clue, and simply interacting with the objects in the room will usually trigger the ghost's 'stun' state so that you can begin to vacuum them. These are fun encounters, even if their patterns are usually easy to predict. Hunting the 50 Boos that scatter around the mansion at a certain point in the story is enjoyable for the first 40-or-so--a blinking light on the screen lets you know when you're close to one, and during a chase they can slip through walls and into other rooms--but the novelty of these pursuits wears out towards the end of the game.

Once most of the mansion's doors are open and its rooms cleared are towards the end you'll have to do a lot of backtracking, which can get tedious. But it's worth tracking down every ghost--this is a short game, and you'll get more out of it if you hunt down everything. The brevity of Luigi's Mansion was a major complaint during the initial launch, and while our expectations regarding game length have shifted somewhat (six-hour games are less unusual than they were at the time) Luigi's Mansion still feels like it ends too early. While you can replay for a high score, dictated by how much treasure you find and earn, or play the more difficult 'Hidden Mansion' mode that unlocks after finishing the game, the core experience is still a tad thin. 2013's Luigi's Mansion: Dark Moon was a big improvement in this regard, although there's still an allure to the original game's focus on a single location that you slowly master.

The 3DS' second screen is put to great use too, now displaying a 2D map of the mansion at all times. This makes navigation much easier than it was on the GameCube, as there's no need to bring up a separate map screen, which cuts down on some late-game frustration. You now tilt the 3DS to dictate where Luigi is pointing his light or vacuum, which mostly works but can be finicky when the camera plays up in some of the game's tighter spaces. Although the game supports the C-stick on the New Nintendo 3DS, it's not viable since Luigi barely moves his torch or vacuum when using it--motion controls are essential.

Despite these few tweaks and additions, Luigi's Mansion still feels like the same game it was in 2001. That means the little touches that made the game so memorable have remained. Luigi still charmingly hums the theme tune--confidently or fearfully, depending on whether the room you're in has been cleared or not--and his shaky animations are as much of a delight as ever. Luigi still carries a translucent purple 'Game Boy Horror', which can be used to scan rooms for clues. Even the hilarious interact animation that makes it look like Luigi is humping everything in the room, often paired with an enthusiastic 'oh, yeah!', is unchanged. The stranger puzzles and curious aesthetic elements that you might remember remain, and it serves as an interesting, fun look into how Nintendo managed the transition into their fourth console generation.

Luigi's Mansion is the only GameCube port Nintendo has put onto the 3DS, and while some details have been noticeably toned down for the 3DS' smaller screens (the ghosts are less translucent, for example) there's nothing that feels like an unreasonable compromise. The game adapts to a lower resolution much better than many of the Wii and Wii U ports we've seen to the 3DS, giving the game the curious feel of an excellent tech demo for a system that is now on its way out.

The main new feature is an offline co-op mode, which lets you play the entire game through with another player if they also have a copy of the game (or replay boss fights with anyone who owns a 3DS). The second player gets to control the charmingly named 'Gooigi', a version of Luigi made entirely from green goo, and can assist throughout the game by sucking up ghosts and helping to solve puzzles. This is likely to be a very niche feature--Luigi's Mansion is not an especially difficult game and playing together on your 3DS just doesn't appeal the same way a traditional console does--but it's a neat bonus. The whole game also supports 3D, and looks great with the slider turned up.

The game also supports four amiibo--Mario, Luigi, Toad, and Boo--and each one will make your game permanently easier. Mario will change the poisonous mushrooms ghosts sometimes spit out into super mushrooms that restore health, Luigi gives you a chance of surviving death, and Boo will mark the location of five undiscovered Boos on the map. By far the most useful, though, is Toad--the Toads scattered around the mansion act as save points, and if you scan this amiibo they'll also restore your health. This is the one enhancement that should have been made universal--not having to shake every item in every room for hearts takes some potential tedium out of the game.

Seventeen years after its first release, with one sequel out and another on its way, there's still nothing quite like Luigi's Mansion. Nintendo's strange foray into the paranormal has aged well--I was surprised at how much of it had stuck in my memory, and how good it felt being back in its haunted halls. It's a basic port with a few issues, but Luigi's Mansion still remains a charming and enjoyable game.

Categories: Games

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Game Informer News Feed - Wed, 10/10/2018 - 23:28

Amanita Design has revealed a trailer and a few details about its upcoming adventure game, Creaks. Creaks seems to follow in the trail of the studio's previous work, with a whimsical art style and puzzle-focused gameplay. But, if the trailer can be interpreted, this game explores the idea of what lies behind those creaky walls in an old house.

Amanita Design has won praise for its previous games, including Machinarium and Botanicula.

Creaks is targeting release on PC and consoles in 2019.  

Categories: Games

<img src="https://s3.amazonaws.com/prod

Game Informer News Feed - Wed, 10/10/2018 - 23:28

Amanita Design has revealed a trailer and a few details about its upcoming adventure game, Creaks. Creaks seems to follow in the trail of the studio's previous work, with a whimsical art style and puzzle-focused gameplay. But, if the trailer can be interpreted, this game explores the idea of what lies behind those creaky walls in an old house.

Amanita Design has won praise for its previous games, including Machinarium and Botanicula.

Creaks is targeting release on PC and consoles in 2019.  

Categories: Games

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