Games

First Teaser Trailer Shows Sam, A Bike, And A Bunch Of Baddies

Game Informer News Feed - Thu, 04/19/2018 - 16:09

Croteam has revealed a teaser trailer for its upcoming Serious Sam 4: Planet Badass, which shows the titular character and a bunch of his closest friends.

There's not too much to the clip, but it's fun to see Sam again, as well as one of those creepy headless guys with bombs for hands. We won't have to wait too long for additional information – Croteam says more information, including the official announcement for the game, will be coming at E3, during Devolver Digital's press conference. 

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Categories: Games

Your body is a temple in this open-world survival title

Game Informer News Feed - Wed, 04/18/2018 - 22:00

With numerous survival and battle royale titles swarming the video game market, developer Gamepires aims to stand on top using realism with their upcoming Steam Early Access game, SCUM. 

As a prisoner on a TV show, the ultimate objective is to win their freedom by surviving against zombie-like creatures with or against up to 64 other contestants on a 12 kilometer island. The focus to achieving that goal is mastering the human body and its complexities through the “most advanced human body simulation in the world,” creative director Tomislav Pongrac claims. The inspiration for the simulation comes from the team’s research while playing myriad survival titles. They realized that, aside from weapons players discover, differences were merely cosmetic. “You can’t call yourself a survival game if you don’t simulate the real world in some way,” says Gamespire CTO Andrej Levenski.

A chip on the back of your character’s head tracks numerous physical stats, from  respiratory rate to blood volume and calorie consumption, all of which are determined by attributes customized during character creation. Exercising and watching what and how much you eat are the king factors in your success – much like real life. In turn, poor choices result in stat reductions. For example, if you charge into battle and lose a tooth,  that hole in your mouth can affect your ability to eat, which causes a domino effect in stat reductions due to starvation. Hunger depletes attributes such as strength, which governs things like hand-to-hand blows as well as steadiness with a rifle. Players can also get sick if they loiter in the rain too long and don’t have water-resistant gear, and contract diseases from fighting animals.

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“In real life, we are all slightly different depending on what we have learned and what we are capable to perform,” says Pongrac. “In SCUM, all players will be different, regarding their knowledge and capabilities, and we found it much better and more realistic than classes which can be found in some games. In those games, you can create a sniper, a heavy guy, a medic, etc. while in SCUM you will be able to create a character who was a medic before he has been cast on the island, but they also can have a knowledge of using rifles, martial arts, or any other skill you find important. It provides players with almost endless possibilities.”

Upon death, players respawn as a clone of their character, who is created by the TEC1 corporation, the runners of the TV show. Your character maintains all of their attributes thanks to the chip tracking their stats, but the equipment you respawn with depends on a fame system determined by points with different tiers. The more renowned you are, the more equipment you can respawn with, at the cost of spending more points.  Pongrac describes it as “in-game monetization.” Respawning, however, subtracts points and makes you less popular with viewers. “We wanted to create a system that will allow players to continuously upgrade their characters and not to go mad when hundreds of hours invested in gameplay go to waste,” says Pongrac. “There will be no permadeath in the game, but we will make sure that players who try to survive are rewarded while all others who play recklessly are punished in a certain way. There are more things related to the fame system, from sponsor gifts, optional coupons for healing, food, and gear, along with how fame will be distributed within teams, but we will save that for later.”

Despite these numerous systems, Gamepires says SCUM also appeals. A randomized character option that assigns sporadic stats allows players to quickly jump into multiplayer modes that range from team deathmatch to battle royale. “[These types of events are great] because players can rotate faster and try some top gear from the game,” says Levenski. “You can do your regular survival things like hunting, crafting, and cooking, and when events are ready just join in … Your character stats and abilities from survival mode still count in those type of events, so you better join when your character is in good shape.”

If players want to focus on surviving without narrative intrusion, they can ignore plot points and discover the secrets of the show at will. “SCUM provides different gameplay mechanics depending on what players want to do,” says Pongrac. “We like to compare it to the onion. You can peel it layer by layer, or just take a big bite, whatever makes you happy.” 

Though SCUM is ambitious in scope, these factors seem to meld well for what looks like a distinction the survival genre desperately needs. You’ll have the chance to try SCUM when it hits Steam Early Access in the second quarter this year. For more on survival games, check out our hands-on thoughts on SCUM, the latest trailer for State of Decay 2, and our Subnautica review.

Categories: Games

Life Is Strange: Before The Storm Review - Keep the Good Times Rolling

Gamespot News Feed - Wed, 04/18/2018 - 21:00

It's rare that a prequel truly works, where a story can captivate despite the audience knowing what's coming and where the path will lead. Life Is Strange: Before The Storm is one of those exceptional stories because it draws you in on its own terms. The only problem: You know it's building you up just to break your heart.

As we know, the original Life Is Strange is steeped in tragedy. Maxine Caulfield's estranged friend Chloe Price comes riding back into her hometown, hoping to find her missing friend, Rachel Amber. The search brings Chloe and Max close again after years apart, but it also illustrates a vast gulf in their life experience, which never fully closes. Max's life is defined by good fortune and privilege. Chloe, as seen through Before The Storm, is defined by loss.

When Episode 1 starts, Chloe is forced to finagle her way into an underground metal concert with nothing but street smarts and her own awkward sense of sass. She's not yet as sharp and hardened as the girl we meet in the original game, but she has it in her to become stronger as life gets tough. That girl's outlook on life is everywhere in Before The Storm: the greyer, evocative, post-rock soundtrack compared to the sunny lilt of the original game, the sneering commentary of the information in the menus. The Backtalk system—a stand-in for Life Is Strange's time travel mechanic—gives you even more control over the flow of a conversation to get what you want. It's a way to portray Chloe's very human strengths that sadly doesn't get implemented often enough in the latter two episodes.

Whoever you choose to make Chloe become, meeting Rachel shifts her focus. In the original game, Rachel is to Arcadia Bay what Laura Palmer is to Twin Peaks: a bonafide popular girl whose absence seems to mean everything to everyone, but who no one seems to really know on a personal level. Chloe Price, however, did know her, and Before The Storm gives you the chance to find out what was so special about Rachel in Chloe's eyes.

On the surface, the answer seems to be nothing. Episode 1 has Chloe and Rachel playing hooky, and trying to suss each other out, which doesn't tell you anything you couldn't guess on your own. It's only after Rachel catches her District Attorney father in a compromising act that she metaphorically bares everything, revealing she and Chloe aren't as different as they seem.

Before The Storm's three episodes are roughly two hours each, depending on how compulsive you are about exploring every nook and cranny. Compared to the original game, which leaned heavy on the implications of Max's time travel, Before the Storm has no real supernatural crutch to lean on to solve the world's problems. What few flights of fancy there are--aside from a heartwarming impromptu Shakespeare performance in Episode 2--manifest as occasional dream sequences, more for Chloe to sort through her own grief than to affect the world around her. The real world around Chloe continues to crumble, and your choices tend to fall on the side of figuring out how to sort the remains. It's choices like figuring out how best to deal with being kicked out of school, whether it's worth upsetting Chloe's mother to clap back at her trashy gun-nut stepfather, or parse out how much basic respect to give the gossip girls on Blackwell Academy's campus.

The heart of it all remains Chloe's relationship with Rachel. It's a textbook case of two people finding someone worth clinging to, and taking it on good will that their faith in each other isn't misplaced at best or going to get them killed at worst. Episode 3 veers ever slightly off into low-grade cable-TV drama, but even that's played earnestly, with Chloe and Rachel's mistakes having tangible, believable consequences, and choosing how Chloe deals with her failings is endlessly captivating to play through.

That captivation is, of course, the problem, if you can call it that. It's a game that so admirably and genuinely builds a relationship between two girls who absolutely need and deserve each other; when it gets to the ugly business of reminding you where it ends, it sours and saddens every moment. You could use your choices to keep Rachel at a bit of distance, but even that distance feels unfair, because why wouldn't both girls deserve their momentary bliss?

Still, Before The Storm's main three episodes largely play out as though the future isn't set in stone, allowing you to craft something resembling a momentary win for an ill-fated relationship, entertaining the notions of coping and vulnerability in ways very few games typically have time or inclination to. The bittersweet cherry on top, however, is contained in the game's Deluxe Edition, a final episode that allows you to play through Max and Chloe's last beautiful day together before Max leaves for Seattle. It's light, whimsical, often funny, and bathed in a gentle golden nostalgia. And once again, its final moments bring truth rushing in, and it's a stab in the heart.

This, apparently, is the heartbreaking joy that is Life Is Strange: the inevitability that life will do terrible, unexpected things to people whose presence we love, and people who absolutely deserve better. Developer Deck Nine's contribution through Before the Storm posits that the pain is still worth it; just to have the time at all is enough. A storm is still coming to Arcadia Bay, and Rachel will still disappear one day, and it doesn't matter. Being able to spend time with Chloe when her heart is at its lightest, and putting in the work to keep it going, is powerful and worthwhile.

Categories: Games

Taking The Circuit By Storm

Game Informer News Feed - Tue, 04/17/2018 - 16:07

The rise to the top always starts with a first step, and for those aiming for number one in the rankings in Tennis World Tour, you're going to have to methodically work your way through tournaments across the globe.

Developer Breakpoint (who worked on the Top Spin series) has released a new video for the game (coming to PS4, Xbox One, and PC on May 22) outlining how players construct their schedule in the game's career mode.

Your player's schedule is more than just a menu of dates, however, as managing it well is crucial to maximizing your earnings, avoiding fatigue, and growing as a player.

For more on the game's career mode, check out this rundown from the Sports Desk column.

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Categories: Games

Sora Journeys To Classic Kingdom

Game Informer News Feed - Mon, 04/16/2018 - 06:34

A new Kingdom Hearts III trailer dropped today showing off some of the minigames that will be playable in the game, specifically focusing on a bizarre handheld system in Sora's possession that recalls the old days of LCD games.

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The trailer dropped during then KINGDOM HEARTS Union χ Dandelion Meeting in Anaheim, a fan event for the Kingdom Hearts mobile game, Kingdom Hearts Union χ (read as Cross). The short trailer really only gives a small look at the game's minigames, but it is interesting to see any more of the decidedly elusive game.

Kingdom Hearts III was first announced in 2013 for PlayStation 4 and Xbox One.

Categories: Games

The MMO Sequel Is Headed To The West

Game Informer News Feed - Sun, 04/15/2018 - 20:05

Nexon has announced its long-awaited MMO sequel, MapleStory 2, is finally headed to the West.

Originally released in Korea in 2015 and in China last year, MapleStory 2 improves on the original's 2D sprites and playing field by turning them 3D. You can split your time between dungeon-crawling and facing monsters, or idly build up your house after exploring the world.

Though Nexon did not announce a release date, players can sign up for a closed beta until May 6. The beta will run from May 9-16.

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Categories: Games

Penny-Punching Princess Review: In For A Pound

Gamespot News Feed - Fri, 04/13/2018 - 15:00

Penny-Punching Princess opens by declaring that, in the age of capitalism, money is where real power comes from. This is a game about a princess who needs to accumulate wealth to get revenge on the Dragaloan Family, who sent her father into poverty and death with their harsh interest rates. It's an intriguing, startling note for a cutesy beat-em-up game to open on. This isn't a 'message' game--don't go in expecting a searing critique of capitalism, as it's largely played for laughs--but this framing device immediately makes it clear that this brawler is going to be different. It might not be in the top-tier of its genre, but at the very least Penny-Punching Princess is unique.

The game is an isometric beat-em-up, in which fighting is your main form of interaction with the world. There are no puzzles to solve, and the level design is extremely simple, to the point of being universally uninteresting, designed just to funnel you between fights--the extent of permissive exploration is simply a matter of going left when your compass is telling you to go right. When a fight starts, the Princess (or Isabella, a zombified second playable character that you unlock a few hours in) can perform quick punches, use a stronger charge attack, or roll to safety. It's not the deepest system, and your defensive options are limited.

Most fights involve a few waves of enemies, usually of increasing danger, and generally, there will be traps, like buzzsaws, giant rolling balls, and fields of poison, to avoid too. The Princess and Isabella play very differently, although most players will likely attach themselves to a favourite rather than swapping between them--I stopped using the Princess almost entirely after unlocking Isabella. Unfortunately, there's not much variety in the game beyond this choice between the two. The arenas you fight in throw more and more traps at you as the difficulty ramps up towards the end of a chapter, but no specific encounter every really stands out.

When you beat enemies to a certain point, the word 'break' appears over them, and if you rotate the right stick, coins will spill out of them. Coins are important during a fight, as they can be used to bribe both enemies and traps. Enemies vary in price depending on their power, but if you bribe an enemy not only will it disappear from the battlefield, but you'll be able to summon it to fight for you. You can bribe traps too, meaning that they'll stop hurting you and can be turned onto enemies. Traps are more cost-effective--they're cheaper and tend to do a lot of damage--but using them properly also means that you need to lure your enemies into range. Leading a powerful enemy right into a trap and doing massive damage is extremely satisfying, even if most of the game's boss fights come down to you leading a huge enemy from trap to trap. During hectic battles, it's hard to know exactly what you're about to bribe--the Princess can be more exact, but in the heat of the moment you're more likely to just nab whatever is directly in front of you--which can get frustrating.

Every enemy and object you bribe gets added to your collection, which can be cashed in to build new armour and Zenigami Statues (which are effectively the currency used for stat upgrades). A piece of armour, for instance, might require you to have previously bribed five of a specific minor enemy, two of a stronger, more expensive enemy, and two buzzsaw traps. Each piece carries a price like this, and if you're missing something the level select screen handily highlights four enemies and traps you'll encounter in each individual level. Upgrading your armour is essential--occasionally you'll hit enormous difficulty spikes and realise that you're under-equipped, at which point you'll typically need to jump back into earlier levels and grind to collect specific bribe targets (and search for treasure chests, many of which contain additional Zenigami statues).

The grind is rarely too severe if you're being mindful and upgrading as you go, but the difficulty spikes can hit hard. It's frustrating when you reach the end of a level only to find that the final boss is far too powerful for you to take on, and the checkpointing, which can be somewhat capricious, means that you'll often have to redo easier fights just to reach the more difficult ones again. My frustration only occasionally boiled over to the point where I had to step away for a moment, but there was also rarely a real sense of reward for having beaten a difficult level, because you know the next level is just going to involve doing the same thing again.

All of this is presented without too much flourish. The sprite-based character designs are occasionally charming (Sebastian, a stag-beetle who acts as the princess' butler and appears in pre-and-post-level interstitials, is pretty funny), and the weird script plays up the game's irreverence to good effect, but it's difficult to really get invested in Penny-Punching Princess' cycle of punching and spending. While the game is moderately entertaining and has its moments it just doesn't offer lasting satisfaction. Penny-Punching Princess doesn't set its sights particularly high, and while it feels like it's achieving what it intended, it's hard not to wish there was a little more to it.

Categories: Games

Choosing Your Own Path In The Abyss

Game Informer News Feed - Fri, 04/13/2018 - 14:00

Underworld Ascendant is a game that, for better or worse, has the chains of history shackled to it. The new immersive sim from OtherSide Entertainment is a spiritual successor to Ultima Underworld, a 1992 game by many of the same developers who were more than happy to explain that it is often considered the first ever first-person action game. With that kind of precedent, the kind of pressure Underworld Ascendant is under starts to take form, though the game definitely seems willing and able to hold that weight.

To say the gameplay in Underworld Ascendant is player-authored might be selling it short. When we talked to OtherSide Entertainment cofounder and immersive sim luminary Paul Neurath earlier this year, he emphasized a desire to take the immersive sim genre further beyond its limitations. Circumventing limitations is the underlying foundation of the genre, after all.

In Underworld Ascendant, players have free reign to seek out solutions however they see fit using whatever is at their disposal. Using what is appropriately titled the Improvisation Engine, players can use and manipulate their environment to solve puzzles, cross gaps, defeat enemies, and generally just tackle any issue in front of them they may need or want to overcome.

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One example in the first dungeon is using water to put out fire. The game imparts the knowledge of this mechanic early on by simply telling you that water, in any of its forms, can be used to put out the various bits of fire around you, from candles to torches to objects set ablaze. It is up to the player to figure out how to apply this knowledge to progress. An immediate option to use water arrows to douse hanging lanterns around an enemy skeleton, befuddling them before sneaking in for the kill. Another might be to set fire to a nearby wooden block as a distraction and then put it out to sneak past. Or the player could just not engage with the mechanic at all until they absolutely need to use it.

The game's narrative is similarly influenced by player behavior. Rival factions vie for your attention and are offended by a lack of it. The player's actions have consequences that ripple across the land and choosing how best to navigate between often contrary options can drastically affect the world.

Still, experimentation sits at the heart of the game and courses through all aspects. The overall structure of Underworld Ascendant has players taking quests, gaining skills, and having helpful eureka moments that can't be quantified within a skill tree. You only need to learn that wooden doors are flammable once before it becomes a core part of your mental toolset for solving puzzles.

The immersive sim genre is one that trades in the currency of stories and experiences, acting as a playground for experimentation for players to tell each other how they overcame various obstacles using unlikely tools. Underworld Ascendant seems to be seeking to do more with its world than merely telling players to have at it, however, and is trying to be a game that uses its variety and openness to encourage repalyability. OtherSide wants players to find their stories of creative puzzle solving and then try to create more stories on top of that.

Underworld Ascendant has a lot of history to live up to, but the far more interesting question is whether the game will live up to its own potential. While we'll know for sure when the game releases later this year on PC, it is making a strong argument for meeting that lofty goal already.

Categories: Games

Siegfried Comes Swinging In Soulcalibur VI

Game Informer News Feed - Thu, 04/12/2018 - 16:56

Soulcalibur VI is marching towards a release this year (PS4, Xbox One, and PC), and Bandai Namco has just announced another combatant for its roster – Siegfried, who wields his massive zweihander Requiem in this gameplay trailer.

While you don't get to see the game's destructible armor in the trailer below, you can witness Siegfried's super in action.

To see more of the Soulcalibur VI's gameplay in action, check out this New Gameplay Today footage with our hands-on time with the fighter.

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Categories: Games

God Of War Review: Divine Bloodshed

Gamespot News Feed - Thu, 04/12/2018 - 08:01

The God of War series has, until now, stuck very close to the standards set in the original 2005 game. More than a decade (and many games) later, it makes sense that Sony would want to mix things up for the aged hack-and-slash series. Like so many popular franchises that have reinvented themselves in recent years, the new God of War dips into the well of open-world RPG tropes. It also shifts its focus to Norse mythology, casting off the iconic Greek gods and legends that provided the basis for every previous game.

These major shifts don't signal the end of God of War as we know it, rather they allow the series' DNA to express itself in new ways. There are many reasons why the structural transformations are a good thing, but it's what's become of Kratos, the hulking death machine, that leaves a lasting impression. A furious, bloodthirsty icon has transformed into a sensitive father figure. Part of him retains the old violent tendencies that made him a star long ago. However, with his young son Atreus to protect and guide, we also see Kratos take a deep breath and bury his savage instincts in order to set a positive example.

Watching Kratos take care in nurturing his child's sensibilities does feel a bit jarring at the start, but thanks to the natural writing, fitting voice actors, and flawless animation, it's easy to get sucked into the duo's journey and buy into their mutual growth. Though he is a teacher, Kratos carries a mountain of grief and self pity that only the innocence of his son can help him overcome. And Atreus experiences his own ups and downs that might have set him down a very different path if not for Kratos' guiding hand.

Atreus was raised in isolation from the dangers of the wild world around him, and rightfully fails to grasp his place in it when confronted with the realities of a land protected by and under siege from gods. It's the death of his mother prior to the start of the game that thrusts Atreus and Kratos outward; her dying wish was to have her ashes spread atop the highest peak in the land. As if wild predators and ghastly fiends weren't obstacles enough, representatives from the pantheon of Norse mythology arise in an attempt to disrupt their mission, establishing the amplified stakes and the clash of impressive forces that you expect from God of War.

And like its predecessors, God of War is a technical and artistic showcase. It is without a doubt one of the best-looking console games ever released, with every breathtaking environment and mythical character exhibiting impressive attention to detail and beautifying flourishes aplenty. The vision behind all of this is evident in Kratos' meticulously grizzled physique and weathered equipment, in the atmospheric effects that transform believably rustic environments into the stuff of dreams, and in the overall design and structure of the world itself.

The majority of the journey is set in the realm of Midgard. At its heart lies a wide lake that you can explore by canoe, with a coastline dotted by optional puzzles, formidable opponents, and entrances to the map's primary regions. Your mission will carry you through to most of these places, and along the way you'll likely take note of inaccessible pathways and glimpses of sealed treasures. There's always ample room to explore off the main path and good reasons to give into curiosity regardless, but these teases in particular spur you to re-examine previously visited areas as your capabilities expand.

With the boy fighting by your side, firing arrows or choking unsuspecting enemies, you will team up against corrupted cave trolls, face towering beasts, and fight hundreds of intelligent supernatural warriors during your travels. Kratos prefers to use an axe these days, which functions very differently than the chained Blades of Chaos he's known for. This comes with the very satisfying and cool ability to magically summon your weapon to your hand (like Thor and his hammer), a move that never gets old.

And really, neither does combat in general. The new over-the-shoulder camera brings you directly into the fray, and consequently limits your view. You can't see enemies from all angles at once and must be on guard at all times. By default the game provides proximity icons to alert you of incoming attacks, but it's worth tinkering with the UI for a more immersive experience as you get the hang of how fights flow.

It's rare that you can actually spam combos without putting yourself at risk, and this emphasis on mindfulness solidifies God of War's graduation from the traditional hack-and-slash doldrums. The realities of fighting with an axe also makes skirting away from harm an exacting process. But when variables align and you get to lay into an enemy, Kratos' dexterous axe handling allow him to hit hard, and give you the opportunity to flex his might with a bit of style.

The basic set of close-range combos and weapon behaviors can be expanded by pouring experience points into a skill tree and by activating magical rune abilities that bind to your two attack inputs. There are a lot of options to consider and tactics to learn, including skill trees for fighting empty-handed. There's a wonderful rhythm to be found when switching from axe to fists, and then into Kratos' satisfyingly brutal execution moves, all the while ducking and rolling out of harm's way.

God of War's combat is already great at the start, but it gets better as it steadily introduces one new layer after another. You can absolutely stumble into incredibly punishing enemies that are made easier with adept timing and mastery of every available skill, but you can also succeed at any level so long as you've mastered the art of parrying and dodging incoming attacks.

Atreus can't be configured to the same extent that Kratos can, but there are still a lot of ways to tailor his capabilities to your liking. The arrows he fires can be laced with different types of magic, with multiple elemental and functionality upgrades, and he eventually gains the ability to summon spectral animals that can harm and distract enemies, or collect items. Thanks to the smart button layout, it's actually very easy to both attack and defend as Kratos while also commanding Atreus. God of War gives you plenty to do in any given moment and makes you feel like an experienced warrior in the process.

The armor that Kratos and Atreus wear can influence a range of character stats, elemental affinities, and may include slots for enchantments that grant further bonuses. Armor can be purchased or crafted using the few resources scattered about the world, and can be upgraded by the game's two blacksmiths: two dwarven brothers constantly at odds with each other. There's Brok, the foul-mouthed blue dwarf, and Sindri, a far more gentle yet tragically germophobic fellow--a gag that is usually funny, though occasionally pushed a bit too hard.

As enjoyable as those two can be, it's Mimir that ultimately steals the show. The horned, one-eyed sage accompanies you and Atreus for the majority of the game, serving as your guide to Midgard, and an inside source into the ins and outs of Norse politics. Mimir and the blacksmiths have strong individual personalities, as with every other character you meet during the course of the game. We're keeping other identities vague in general to avoid spoilers, but regardless of who you bump into, God of War's cast is strong, convincing, and oddly enchanting. But the real accomplishment is how, even though there are just a handful of characters to interact with, their big personalities color your adventure with tantalizing anecdotes that draw you into the world and imbue the land with a tangible sense of history.

If there's any piece of the overarching mission that feels like a letdown, it's the final battle against the primary antagonist. He's great from a narrative standpoint, unraveling in a manner that changes your perspective, but it's the fight itself that leaves you wanting. There are plenty of big boss battles and tests of skill throughout the course of the game, yet this fight doesn't reach the same heights, and feels like it was played a little safe. It could be an effect of configuring Kratos and Atreus just so, or it may just be too easy to begin with. Thankfully, that's not all the game has up its sleeve.

Two optional areas in particular seem designed with the endgame in mind. The first, Muspelheim, offers a series of battles in arenas surrounded by lava flows and scorched earth. Some trials are merely fights against strong enemies, while others require you to defeat waves in quick succession--if even one enemy remains alive, it only takes a few seconds for others to resurrect automatically. The other realm, Niflheim, is randomly generated every time you visit, but it's always filled with poisonous gas. The goal there is to survive for as long as possible while racking up kills and collecting treasure, and escape before the poison takes hold. Both locations offer tense and rewarding pursuits that are only accessible if you play at your best.

And odds are that you'll be so hooked by the story's pacing and procession of events that there will be plenty of other side activities left in Midgard after the credits roll. God of War isn't set in a massive open world, but it is stuffed with secrets and quests. Where most games with long and diverse quest opportunities tend to run a bit stale by the end, God of War has the opposite effect. It's far longer than it needs to be, though you hope you never run out of things to do.

In many ways God of War is what the series has always been. It's a spectacular action game with epic set pieces, big-budget production values, and hard-hitting combat that grows more feverish and impressive as you progress. What may surprise you is how mature its storytelling has become. Like Kratos, God of War recalls the past while acknowledging the need to improve. Everything new it does is for the better, and everything it holds onto benefits as a result. Kratos is no longer a predictable brute. God of War is no longer an old-fashioned action series. With this reboot, it confidently walks a new path that will hopefully lead to more exciting adventures to come.

Categories: Games

Seeing Alien Planets Through The Eyes Of A Robot Bounty Hunter

Game Informer News Feed - Wed, 04/11/2018 - 20:15

From its inception, one of virtual reality’s best video game applications has been the action of firing a gun. Gunheart, which is currently playable in early access, has not stumbled into some unknown fun mechanic of virtual reality, but it is trying to create a version that offers a compelling reason to fire a gun, and to do it over and over.

You are a bounty hunter tasked with clearing assorted work sites on various alien planets of their alien bug problem. You do this by making your way through levels and shooting the bugs alongside up to two other players. Structurally, Gunheart has a lot in common with Destiny. You work your way through the site with random cooperative players (or friends), get paid, return to the hub location, The Bent Horizon, exchange your earnings for upgrades and new guns, and repeat the process. A story is present to add some context to why you are shooting alien bugs, but the main thrust to keep playing is going to be the upgrades.

The shooting feels good, if somewhat familiar to other VR shooters, but it does have a few wrinkles that I quickly noticed and enjoyed. Reloading certain weapons requires two actions: pressing the reload button and flicking your wrist in order to reset the gun. The action is a satisfying one, especially when a bunch of alien bugs have you pinned down and you need to quickly reload. Flicking your wrist to reload your gun and firing off a last-second shotgun blast feels good.

The alternate weapons are also equipped in a novel way. You typically hold two weapons, one in each hand, but when you want to use your powerful chain gun, or bow and arrow, you bring the two guns together in front of you, and they automatically transform. I especially liked the bow and arrow weapon as bringing your hands together in this way is already the natural way you would hold your hands to fire off an arrow, and pulling back and letting one fly feels right.

Some of the familiar VR qualms are present with Gunheart, as well as some not-so-familiar oddities. The best way to make your way through the levels without succumbing to motion sickness is to warp everywhere. This action still feels odd, and it also affects the general balance. It’s hard to feel overwhelmed by the alien menace when it’s easy to turn around and hit the warp button a few times to get out of danger. The look of the player is also odd, and the way other players are represented in-game is similarly strange. You and others play as robots wearing scarves around their necks, and when you see other players, they are seated in floating chairs zipping around the level. It doesn’t change the way the game is played, but it does look strange.

Gunheart has a lot going for it in the crowded VR shooter space. It doesn’t feel hugely innovative or new, but it also doesn’t feel like a shallow VR tech demo. Developer Drifter Entertainment has missed its self-imposed deadline to take the game out of early access six months after its initial release, but even in this early-access state, Gunheart feels like a fully-featured shooter and is worth keeping an eye on, especially if you’re a fan of Destiny’s loop of perfecting familiar encounters to acquire new weapons and gear.

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We played Gunheart using an Oculus Rift and a pair of Touch controllers, but the game is also available on Vive.

Categories: Games

Extinction Review - A Giant Mess

Gamespot News Feed - Tue, 04/10/2018 - 05:00

Don't let the AAA price tag fool you into thinking Extinction is a high-end product. It ain't, and there's nothing in the game--not even cutscenes--that come close to approaching the level of quality seen in its lavish, pre-launch cinematic trailer.

Discovering Extinction's sub-standard quality is frustrating because its premise is very enticing, and there are moments early on when it feels like it's primed to deliver. As a warrior who's capable of sprinting up walls, soaring through the air, and channeling sacred energy to tap into supernatural strength, you go toe-to-toe against incredibly tall and powerful giants. Taking them down requires you to lop off limbs and dismantle armor, building up enough energy to deliver a killing blow: a whirlwind slice through the back of their neck. Yes, it's obviously inspired by Attack on Titan--you even have a whip that can be used to latch onto hook points and pull yourself through the air.

Zipping across a city to reach a faraway objective, with your character effortlessly scaling walls and bouncing off treetops and canopies to avoid touching the ground altogether, can be enjoyable. And the early battles against the first few giants definitely strike a chord, with their impressive scale and intricately textured body parts giving their artificial bodies a dash of realism. It's all well and good while you're learning the ropes, but these initial thrills fade fast. Extinction quickly transitions into an incredibly repetitive game that fails to build upon its promising foundation.

The excitement of battling giants--easily the game's most admirable piece--wanes quickly. Despite the variations that appear over time, their behavior barely deviates from the standards set early on. Most often, you're merely challenged to target different types of vulnerable objects that bind their armor together, but as you pour points into the upgrade tree to unlock things like extended slow-motion attacks, your character's abilities scale quickly enough that these added steps are no more than inconvenient speed bumps in practice.

In order to get to the back of a giant's neck to take it out for good, you will most often need to cut off one of its legs to make it fall to the ground. Alternatively, some giants have bits and pieces that you can latch onto with your whip, though this system is largely too cumbersome to rely upon. It's very easy for the game to misinterpret its auto targeting and send you flying in the opposite-than-intended direction. Rather than a fun and reliable mainstay, your grapple ability is relegated to Plan-B status.

Nine times out of ten, a hit from a giant means instant death. Your only defensive options are to keep your distance--not always easy, given how close you need to be to cut off their limbs off--or to dodge out of harm's way before an incoming strike. Giants are so big that these attacks often come without warning, save for small red icons that appear near your character's head that are easy to miss while scrambling to simultaneously attack and stay alive.

Should you die, you respawn back into the stage with all your progress intact, but being brought back to life in this way sometimes puts you at an unreasonable disadvantage. Each stage is filled with buildings that giants will gradually destroy until interrupted; when the city is totally leveled, you fail the mission. Many times you respawn at the entry point of a location, which forces you to sprint back all the way back to the fight while a giant whittles away at the remaining buildings in your absence. In light of the great potential for one-hit deaths, being sent back to the beginning of the stage doesn't make a whole lot of sense.

Extinction is made by Iron Galaxy, a studio with experience making fighting games. There are reminders of fighting game mechanics within but any depth hinted at by the presence of super-armor and invincibility frames is shot down when you get a glimpse at the three combo lists. Practically every combo is executed with a single button and is only mixed up depending on when you decide to hold it down or delay the next input. Not that you need to master these skills in the first place. You can't damage giants with basic attacks, and smaller enemies are too dumb to put up a good fight.

And if you thought your sword, which is capable of slicing a giant's arm off, would be able to make quick work of an enemy 10 times smaller, you'd be wrong. The same attack you use to slice through bone a meter thick will only kill the most basic type of enemy, leaving others with plenty of health left over to keep fighting.

During missions where your only goal is to rescue citizens, the game arbitrarily changes the rules of engagement, but even then, not consistently. Most stages allow you to activate rescue towers at a normal rate regardless of the number of low-level enemies in the area. But in some rescue missions, suddenly it's "too dangerous" to attempt to activate a tower with nearby monsters, a proclamation from your partner that causes the charge rate to drop to unreasonably slow levels. But in later instances this is no longer the case, and rescue missions can be completed in two minutes or less as a result. Whether by design or by accident, there's a fundamental lack of consistency; some stages change the primary objective after you complete the task presented to you at the start, which, given the destructibility of cities, can put you in an unexpectedly frustrating position.

Perhaps the game's most damning quality is the fact that its story missions are often set in procedurally generated environments. That isn't bad in theory, but Extinction's random stages are typically flat and incredibly similar, and they aren't even in predetermined locations, which completely nullifies any chance of connecting with the story at hand. If giants level a city in one mission, how is it suddenly rebuilt in the next? Your guess is as good as mine. Likewise, the random generation of locations and giants (and their arrangement) can change the difficulty of a particular level from one playthrough to the next. You never quite know if you should press on during a challenging run, or just re-roll and try out a different permutation from scratch.

The story driving you through all of this is told primarily through conversations at the start and the end of a mission. In both cases, the in-game world freezes and static portraits pop up, along with a frustratingly small text box that can only fit two lines of text at a time, even when far more is usually said. While you watch text scroll through this box, dialogue is read aloud at a snail's pace by decent voice actors trapped behind hackneyed writing. The skip button quickly becomes your best friend.

You do get 2D cutscenes between missions on very rare occasions, but the hand drawn art is rough. The fact that only some cutscenes are properly animated while others are storyboard-grade stop-motion is guaranteed to cause concern. Even the game's ending, arguably a pivotal moment deserving of some investment in cinematic flair, is of the stop-motion variety, no more impressive than dressed-up placeholder art.

Extinction shoots itself in the foot time and time again. It's so frustrating to see its good ideas buried under repetitive missions, a forgettable story, and embarrassing production values for its AAA price. Play one hour of it and you've basically done a bit of everything it has to offer; then it's rinse and repeat for as long as you can bear to stick with it. It's a frail and monotonous game destined for the bargain bin.

Categories: Games

Fortnite: Battle Royale Review - Laying The Foundation

Gamespot News Feed - Mon, 04/09/2018 - 17:00

For a game that was long in development as a cooperative horde-based shooter, the conspicuous and relatively quick addition of battle royale to Fortnite seemed to be a move to capitalize on a trend. However, its seemingly simple building system and loose shooting mechanics not only set it apart from other games built on the same premise, but work extremely well to make a uniquely chaotic and surprisingly deep deathmatch experience.

Everything about Fortnite's presentation emits a lighthearted tone. You start a match by jumping out of a party bus held up by balloons that flies across the game's massive map. Weapons, ammo, and health items litter its silly-named cities, all using alliteration--Tomato Town, Moisty Mire, Tilted Towers, to name a few. Even enemies don't really die; they're teleported away after getting knocked out. Valuable loot is found inside pinatas called supply llamas, for crying out loud. Players throw up basic structures formed out of thin air and firearms brightly express their trajectory. But don't let that first impression fool you; the further you get into a match, the more you see how Fortnite's gameplay elements have to be used in clever and complex ways to emerge victorious.

Unique to Fortnite is a streamlined building system comprised of four components: walls, ramps, floors, and roofs. These are constructed with three different types of materials that you either mine with a pickaxe or scavenge across the map; wood, stone, and metal each have their own properties in terms of durability and build speed. You can further modify structures to have windows and doors. It seems convoluted, but thanks to snappy grid-based layouts and the intuitive control scheme, getting the hang of building isn't much of a hurdle.

At first glance, it's as if Fortnite's original Save The World mode had its mechanics haphazardly dropped into the 100-player last-person-standing premise. But this is the foundation that makes for a myriad of tactical possibilities, like creating a sky-high staircase to climb a mountain to get the higher ground or swiftly fabricating your own cover as you run across an open field to close in on opponents. Literally, bridging the gap between mountains can turn long-range shootouts into close-quarters brawls. Fortnite's dynamic building system always gives you the opportunity to improvise, even when you think your back is against the wall.

For example, players will often shield themselves with structures that act as makeshift bunkers. To undercut that, you could put the pressure on them by constructing your own set of ramps leading into their territory to force a fair fight and eliminate an otherwise well-protected enemy. In these moments, the intrinsically rewarding nature of Fortnite shines through. Conflict isn't just about landing a precise shot or spotting the enemy first; quick wit and improvisation with the given toolset put you in a position to create your own path to success. Eliminations and victories feel very much earned, especially because the late-game often consists of which player or squad has the best architectural acumen in the ever-changing safe zones.

While construction is imperative for victory, so is destruction. Every object in the world of Fortnite can be destroyed. Even as players create their own formidable defense, no one is ever safe for long in battle. A well-placed rocket or remote explosive can quickly dismantle a large, complex fort; if a multi-story tower doesn't have a strong foundation, blasting it from underneath will bring those up high back down to earth. Even a subtle tactic like breaking down a single wall and throwing up a ramp to infiltrate in an imposing fort can prove just as effective.

Approaches to combat also rely on the weapons you scavenge. A typical arsenal made up of rifles, submachine guns, shotguns, and pistols have colored tiers to indicate varying levels of power and rarity. Each gun has a sensible use-case, however, traps and explosives mix things up a bit. This is another aspect in which Fortnite diverges from many other battle royale games; shooting is fast and loose, akin to an arena shooter. Mid-range firefights and close-quarters combat feel more like a fatal dance in and around the structures plopped into the environment. Bunnyhopping with a tactical shotgun is common at close range and spraying assault rifles is standard operation. Fortnite isn't a tactical shooter in the traditional sense, but offers its own bevy of strategic options to keep players on their toes.

Enemy engagement still carries the risk you expect from games of this ilk by nature of having one life per match and the relatively quick time-to-kill. Even after downing a Chug Jug for full health and shield, well-placed shots from a legendary or epic weapon will make short work of anyone. However, the brisk pace at which matches move trades unnerving tension for a higher frequency of action. Yet, as with any battle royale game, looting for resources sits at the core of matches and eats up much of your time. The system in place for loot and resource gathering is efficient, but it grows tiresome after consecutive matches as swinging the pickaxe at trees and houses for necessary materials grows increasingly repetitive.

Another area in which Fortnite is a bit thin is in its map design, a shortcoming that's twofold. The sprawling lone map features a variety of cute, thematic areas: Its metropolis of Tilted Towers and suburbs of Pleasant Park contrast the swamps of Moisty Mire and the countryside of Anarchy Acres. Regardless, there's a feeling many of the map's landmarks lack sophistication in physical layouts and density in loot placement. To its credit, the map's verticality brings the best out in your construction abilities, but city centers like Tomato Town have little to work with when two squads land in the area. A slightly more intricate town like Snobby Shores is sometimes devoid of useful items. It'd be easier to overlook this if you didn't have to trek across to a nearby town on foot that's likely to have been looted, but such is the case.

In just about half a year, Epic has demonstrated strong support with a consistent rollout of new content. Those who have been playing the game are aware of the limited-time modes that put a slight twist on the standard mode. Snipers-only or explosives-only matches have added a neat touch, but past modes like 50v50 or Teams of 20 do much more to change Fortnite's pace and open up new ways to play the game. If that's any indication, Fortnite could have plenty more to offer as it evolves further.

This is a free-to-play game, so you should be aware that it sustains itself through microtransactions. A $10 Battle Pass opens a slew of skins to earn and provides new goals to work towards. It's a reasonable system in that these objectives reward you with cosmetic items that visibly pop within Fortnite's bright art style. There's nothing to infringe on how the game plays, thankfully. If you wish to engage in making your pickaxe to look like a toy, don seasonal outfits, or get the latest viral dance as an emote, you either put in the time to earn it or shell out money for the game's V-Bucks.

While there are several moving parts in the game's ecosystem, Fortnite's biggest accomplishment is in how it seamlessly merges a number of simple mechanics to create a distinguishable battle royale game. What looks to be a straightforward building system steadily escalates to an elaborate display of tactical prowess. As the saying goes: It's easy to learn, hard to master. Although a few shortcomings in the map design eventually surface and fatigue in looting can set in, Fortnite rarely fails at challenging you in unexpected ways, resulting in something more than just another typical last-person-standing shooter.

Categories: Games

Take On The World With The Heart Of The Cards

Game Informer News Feed - Mon, 04/09/2018 - 15:00

As part of the King Knight DLC for Shovel Knight, Yacht Club Games announced the King of Cards expansion, a brand new campaign centered around becoming card royalty.

For the expansion, Yacht Club Games has created an entirely new card game that functions similarly to Final Fantasy VIII's Triple Triad card game called Jouster. Cards representing Shovel Knight's many monsters make up your hand with arrows pointing in assigned directions on them. The cards are laid down in lit up center squares with the objective being to slide a card onto a gem on the board. Cards can be shoved by other cards in your hand by lining up arrows from the shover with sides with no arrows on the shovee, eventually getting to the gem.

King Knight is introduced to the card game, then walks forward into a Jouster hall with multiple opponents ready to play. He has to defeat every enemy in the area before he can take on the Black Knight below in his quest to become King.

The default deck probably won't get you very far, but Shovel Knight's merchant resides in a treasure chest in the basement below, and he's selling random cards for King Knight to buy. Since he's King Knight and part of the Order of No Quarter, he's more than happy to cheat, and consumable cheats can also be purchased from the merchant to just do things like destroy the entire enemy hand.

Yacht Club Games explained to us that King of Cards basically doubles the content of the King Knight DLC expansion, offering an entire campaign of characters, stages, and bosses similar in content to the main game and other two DLC campaigns, in addition to the platforming campaign already announced.

Both parts of the King Knight expansion are scheduled to be released in the first half of 2018.

Categories: Games

Funky Kong's Wild Ride

Game Informer News Feed - Mon, 04/09/2018 - 02:33

At PAX East 2018, we got hands on with the Switch version of Donkey Kong Country: Tropical Freeze, one of Nintendo's Wii U to Switch ports in the system's second year.

The big new addition, and emblazoned on the front of the new version's box, is the introduction of Donkey Kong's relative Funky Kong to the playable character list. Unlike previous characters like Diddy, Dixie, and Cranky, Funky supplants Donkey Kong as the main playable character and has his own skills to get through the game's levels.

The gorilla with sunglasses and a surfboard has a much easier time through the game for new players who find Tropical Freeze a little frustrating their first time through. Funky can double jump, basically emulating Dixie Kong's hair twirl but without needing her as a partner. While Cranky could bounce on spikes, Funky makes them completely moot by jumping and standing on them. Funky also hovers, much like Diddy's jetpack, making the incredibly safe jumps even safer. Finally, Funky can move fast in the same way Donkey Kong can infinitely roll, but without the need for a partner Kong.

For players who don't necessarily want an easy mode, however, Funky offers a few other advantages. Because of these extra skills, Funky Kong is a speedrunner's dream. The character basically breaks the game's level design and tears through areas far faster than Donkey Kong and any individual partner could do. For players who enjoy the time trial aspects of Tropical Freeze, Funky Kong is likely to dominate leaderboards. 

When players are using Funky Kong, his role as shopkeeper is taken up by Squawks the parrot, who does his best Funky impression in his stead.

The main improvement to the Switch version is much faster load times. The game on the Wii U suffered from extremely lengthy loads, while the Switch game seems to come in around half the time.

Whether Donkey Kong: Tropical Freeze on Switch will be worth an extra purchase for previous owners has yet to be revealed, but fun with Funky can be had even for players who have already gone through the game.

Categories: Games

A Surprising Journey Through Time And Space

Game Informer News Feed - Sun, 04/08/2018 - 23:28

Outer Wilds' initial impression is rather mundane and even a little disappointing when you first sit down with it. The pitch for the game, space exploration governed and oppressed by time ticking down to a universal restart every few minutes, feels almost wasted at the outset. I played the demo at PAX East, however, and came away feeling far more intrigued by the game than its initial moments disguised.

The game starts with your character, an alien of some sort, getting ready to use an amateur garage-built rocket to get off their podunk planet and see the universe. Before I could set off, though, I needed launch codes from the forest village's observatory as a cranky old alien in a rocking chair sternly informed me. Along the way, some alien children might ask the player character to play hide and seek with them to tutorialize the game's radio frequency receiver, or fly drones with someone to learn how to fly the ship, both of which I did and neither of which were particularly fun. Regardless, I got the codes, returned to the ship, strapped in, and took off.

This slow start drained me of enthusiasm for Outer Wilds quickly. I did not realize the game would soon make me feel foolish for thinking that.

In space, while attempting to grapple with the controls, I accidentally got a little too close to the sun. I ended up with a bit more than a suntan as I accidentally thrust my ship into the burning star and died. A loading screen separated the next scene, a respawn at the same campsite with the same old alien, hoping that the game saved after I got the codes and not before. To check, I decided to just go ahead and get in the ship and see if it let me. I groaned as the alien told me I needed the codes to launch into space, only to be surprised at his surprise that I already knew them.

My character didn't respawn. They went back in time.

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My next journey was to a planet-sized comet hurtling through space, covered in a hazy green mist and swirling tornadoes just off the ocean cliffs. The landing process, which involved loading up landing cameras to figure out where I could actually set my ship, let me park precariously on the edge of a rocky outcrop on a mountain. I unbuckled my seat belt, stepped outside, and immediately died.

Whoops. Probably poisonous.

I respawned again and looked up at the sky and saw the comet I was just on flying overhead. A sparkling object fell from the sky into the village. As I raced toward it, presuming it would be something that lets me figure out how to survive the poison, the demo ended, and I was left bewildered and fascinated.

The Majora's Mask-like atmosphere and mechanics feel like intentional nods and inspirations and made me desirous to see far more of the game. It is hard to say if the core gameplay loop of Outer Wilds will hold up or if there is a deeper narrative beneath its concept, but I definitely want to find out more after playing the demo.

Outer Wilds is scheduled for release on PC in 2018.

Categories: Games

Manage Not Just Your Riders, But Your Emotions Too

Game Informer News Feed - Sun, 04/08/2018 - 21:52

Neo Cab is a game from Chance Agency (whose staff has worked on games like Firewatch) that's billed as an "emotional survival game," touching upon themes like the gig economy, technology, and human connection. Taking influence from ride-sharing apps like Lyft and Uber, Neo Cab puts you in the shoes of a driver who must manage both their emotions and riders.

You play as Lina, a young woman who is a newcomer to the city of Los Ojos. In the not-too-distant future, she's one of the last remaining cab drivers since most have been replaced by robots. She's empathetic and knows when to speak up or when to bite her tongue depending on who gets in her car. This insight is helped by an item she wears that helps track her emotional status. When rude customers make her angry or sad, this item will flash a certain color to let her know. This way, she can keep her emotions in check so that she can be level-headed and careful with how she interacts with riders.

Outside of conversations with riders and your resulting emotional health, you also have to manage your finances and reputation in order to progress.

Rather than describing it as a cyberpunk game, creative lead Patrick Ewing tells The Verge that he sees the game as "now punk," since it takes its inspiration from today's technology. Instead of trying to send a message through the game that technology is harmful, Ewing hopes that it instead has us contemplate the "human cost that exists within these systems."

Neo Cab is still in early development and it doesn't have a release date just yet. It plans to launch on PC through Steam and itch.io. You can learn more by heading to Chance Agency's development blog.

[Source: The Verge]

Categories: Games

Become Acquainted With 1918 London In This Dark And Gritty Trailer

Game Informer News Feed - Sun, 04/08/2018 - 20:45

We're just a couple months away from the release of Vampyr, an RPG about vampires in 1918 London. A new trailer was recently revealed, giving us another glimpse at protagonist Jonathan Reid's plight and the world he inhabits.

Set as World War I comes to a close and around the time of the Spanish Flu, Britain is ravaged with death and overcome with hopelessness. In Vampyr, these dark times give vampires the opportunity to kill to their heart's desire without much of the city noticing. Playing as Reid, you are a vampire yourself, and one of the biggest challenges you face is morality. You need to satisfy your thirst for blood, but as a doctor, you often don't want to kill unless absolutely necessary. 

You can view the trailer below.

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Vampyr launches on PlayStation 4, Xbox One, and PC on June 5.

Categories: Games

The Nazi-Killing Action Game On The Go

Game Informer News Feed - Sun, 04/08/2018 - 04:24

At PAX East, Nintendo gave us hands-on time with the Switch version of Wolfenstein II: The New Colossus, last year's story-heavy action showcase from Bethesda.

The demo we played started about half an hour into the game, where protagonist BJ Blaskowicz obtains the ability to start moving around in the game's action sequences. The first area had Fergus Reid, BJ's partner-in-arms from the army through the resistance, imploring BJ to take back the resistance U-boat from Nazi clutches. 

On first glance, the game looks like the PC version on lower settings. It makes a lot of the same compromises that Doom made on the Switch last year, lowering resolution and depth of field to run at a consistent albeit decidedly lower framerate. When just walking around, this is not terribly noticeable, but getting close to walls or character models like Fergus bring you back to the reality that you're playing a game where the baseline was PlayStation 4 and Xbox One now crammed on to a Switch.

That said, the game still plays like Wolfenstein II, for better or for worse. The introduction to the game still has BJ stealthing around and taking out Nazi officers before they can raise an alarm or, more likely, simply going in guns blazing and hope for the best. Both strategies function the same on Switch as they do on other consoles, though the system's slightly larger deadzone on its analog sticks makes fine adjustments harder. While we did not get a chance to try the motion controls out, the slight wrist movements involved there should compensate adequately to help make more accurate shots.

We also asked whether the game still features the ill-fitting cover of We're Not Gonna Take It. The Nintendo representatives could not confirm or deny, but did say the game is identical content-wise to its brethren. 

There's still no word when Wolfenstein II: The New Colossus will launch for the Switch, but all indications are that it will come out this year. For people looking to take Wolfenstein's brutal kills and story on the go, the Switch version should function fine, just with a lot of the expected compromises.

Categories: Games

Bring On The Slow Survival Jams

Game Informer News Feed - Sun, 04/08/2018 - 03:11

During PAX East 2018, State of Decay developers Undead Labs unleashed a new trailer for the game showing off different aspects of the zombie survival sim.

The somber trailer plays slow music over the gameplay and management mechanics of the game, showing off leader mechanics, shooting, even zombie tossing. At one point, the player character stuns a large zombie by shooting it in the head a number of times before running at it and swinging around its neck to stab it in the back of the head.

You can check out the new trailer below.

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State of Decay 2 launches May 22 on PC and Xbox One, with an early access period beginning for preorder customers on May 18.

Categories: Games

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