BEST GAMES OF 2018

Looking past the new year festivities, here are some anticipated titles to be excited over for the next 12 months So long, 2017! To celebrate the start of 2018 with a bang, let’s look at the long list of upcoming and potentially awesome games that will be out for PC and consoles. From anime fighting games to long-awaited sequels, they’re all listed here for your reading pleasure!

We’ll break it down into quarters so that it’s easier for us to refer to. As for games that don’t have anything more than a ‘2018’ stamp on it, we’ll just take a guess on which season it’ll most likely be out on. To-date, this 2018 Games List is as comprehensive as it can get.

DRAGON BALL FIGHTERZ
It’s got a silly name, even by Dragon Ball standards. Still, this 2D fighting game takes all the visual cues from the most influential shonen manga out there and is sure to turn heads with its frenetic 3 VS 3 gameplay, colourful cast and gorgeous 2.5D cel-shaded graphics. It came out on January 26 2018.

GOD OF WAR
The next action-adventure game in the God of War series focuses on a wiser and older Kratos going
through a Norse-influenced world and teaching his son, Atreus, the ropes. The game will be  drastically different and re-worked this time around: no multiplayer, no morality choices and no QTE sex mini-games. Sony Interactive Entertainment reveals it’ll be out in a few months, give or take.

CRACKDOWN 3
The original open-world super-powered protagonist action game that paved the way for titles like inFamous and Prototype will be making a huge comeback. Let’s hope the multitude of delays is truly worth the wait. Out Spring 2018.

TUNIC
It’s a Zelda-inspired adventure game, featuring pixelated blocky polygons, an isometric camera view, real-time exploration, loads of puzzle solving, and a fox as the main hero. What’s not to love? Releases sometime in 2018.

LOST SPHEAR
The spiritual sequel to I Am Setsuna, this Tokyo Factory-developed RPG has hit all the old-school RPGing notes: turn-based combat with team-up attacks, short-but-sweet game that goes straight to the point and charming top-down aesthetics. It has been on shelves since January 23 2018.

YAKUZA 6: THE SONG OF LIFE
The next instalment in the Yakuza series focuses on an older Kiryu Kazuma as he finds out what’s going on since his incarceration. Expect gripping drama, lots of fisticuffs and a ton of unnecessary-but-fun mini-games and karaoke sessions. Oh, there’s also selfie-taking urges and Beat Takeshi for some reason. Hitting you in the face this March 20 2018.

MONSTER HUNTER: WORLD
As Capcom’s real deal money-maker, Monster Hunter will continue its awesome relationship with home consoles for now and is looking pretty and meaty, gameplay-wise. This entry might be the friendliest of all for newcomers, though that remains to be seen and play-tested. Players are already gearing up for the next monster hunt since January 26 2018.

BATTLETECH (2018)
Battletech creator, Jordan Weisman, is leading a crack-team to create a turn-based strategy game of the same name – like all those years ago. Being a proper throwback, this game will feature a tonne of mechs from the franchise. It’s been a while since we’ve played a new Front Mission-style game, eh? Re-visiting 31st Century combat never felt this exciting for the longest time! While there is no definite date, BattleMechs will come online with weapon systems going hot sometime 2018.

FAR CRY 5
The sixth Far Cry game – indeed, we’re counting Blood Dragon too – is set in rural Montana where a giant church group is toting guns and weapons of mass destruction. You must sort them out with just as much firepower too. The bonus: you have the option of co-op and an AI-controlled dog at your side. The wild outdoor tour starts from March 27 2018.

A WAY OUT
From the guys who did Brothers: A Tale of Two Sons comes this co-op required affair about two convicts doing a prison break and are on a lam. It is a split-screen game that focus on deep emotional elements and full concentration from the two players. Also, the director of this game is a rather outspoken individual who really wants to see this indie title come to light. Passion is real here. Breaking out will commence on March 23 2018.

KIRBY STAR ALLIES
It’s been ages since we’ve had a mothership Kirby title. This one features 4-player platforming and co-op action; should be fun on the party-savvy Switch. Party time starts for the pink mascot come Spring 2018.

NI NO KUNI II: REVENANT KINGDOM
Ni no Kuni has a proper sequel and, so far, it looks glorious. We’re not sure how the story will be like, since there is no person from Earth entering this awesome fantasy world or on a quest to learn a huge moral lesson. Still, with Ghibli character designer, Yoshiyuke Momose, and music composer, Joe Hisaishi, back for Part 2, the game’s aesthetics will be the main highlight in this Level-5 designed RPG. The magic will ignite once more on March 23 2018.

FE
A pretty indie game from EA and its partner developer, Zoink. An action-adventure, it features a fox-like creature that explores the forest setting it is in. Players can climb, glide, and dig their way through the dark Nordic forest as they visit, learn, and encounter the living, breathing ecosystem within and uncover its secrets. Side-quests and mystical creatures are part of the experience too. Personally, it might be this year’s Journey or Ico. Indie-made in the purest sense, this adventure is set to appear on February 16 2018.

VALKYRIA CHRONICLES 4
The turn-based pseudo-World War II steampunk series is going back to its roots following the left turn Valkyria Revolution took last year. You control Squad E, led by captain Claude Wallace, as you pull off Operation Northern Cross to end the Second Europan War. The squad will be waylaid during its mission due to harsh weather conditions and bad snowfall. This new element of uncertainty will add some interesting gameplay mechanics. If anything, it will challenge and/or help players before, during, and after battles. Operation go time for this game is March 21 2018 (JP) and sometime 2018 for worldwide release.

FIST OF THE NORTH STAR/ HOKUTO GA GOTOKU
The Sega team that developed the Yakuza games is also taking the helm for this action-adventure. It will be based off the hit 80s post-apocalyptic anime/manga, featuring a badass named Kenshiro and his exploits in Eden. Much like the Yakuza games, there’ll also be loads of ass-kicking and mini-games aplenty. The original machine-gun puncher will hit PS4s on March 4 2018 with an English version appearing a few months after.

DARKSIDERS 3
Yes, we need more action-adventure Legend of Zelda clones with edgy 90s aesthetics, please! The next Darksiders game features Fury, sister to War and Death, as she is tasked with taking down the
Seven Deadly Sins using her magic and her sword whip. This next chapter in the Darksiders series will start sometime in 2018.

METAL GEAR SURVIVE
This action game will be the first new Metal Gear title to not feature Hideo Kojima following the messy divorce that happened in 2015. This co-op survival shooter takes place in an alternate reality
where Big Boss’ military group from Metal Gear Solid V fight against crystallised zombie things in an unknown wasteland. Bullets are set to fly from February 20 2018 onwards for the US, and the
following two days for Japan and Europe respectively.

SPIDER-MAN
As the world knows, Insomniac is going to take that awesome Sunset Overdrive game engine of theirs and make a Spider-Man game out of it. Going by the recent trailers, it will have its own in-line-with-the-comics continuity and a tonne of swinging-andparkour-and-web-slinging action. We’re guessing it’ll be out in the second half of 2018. Let’s hope the Parker luck is NOT with us on this.

METRO: EXODUS
Well, let’s start with this one first. Basically, this is the sequel to Metro: Last Light. The heroes from the last game leave Moscow to explore new, and possibly dangerous, territories to expand and continue surviving. Exploration time is unconfirmed but it’s certain it’ll in this late-half of 2018.

DREAMS
Media Molecule, the folks behind the LittleBigPlanet series, are coming back with their own brand of user-generated content spiel in this new adventure game. Instead of Sackboy, this time players follow an imp that must solves puzzles, traverse ephemeral landscapes, and come across and befriends various characters. The game’s real kicker will be its community-created levels. Hopefully no phallic-shaped ones this round. This new open world that encourage pure creativity will startup within 2018.

MECHWARRIOR 5: MERCENARIES
The team behind Mechwarrior Online will be creating a brand new single-player campaign for the BattleTech universe. It will features up-to four-player in co-op mode and will provide loads upon loads of BattleMechs from the beloved eras of this long-running franchise. All of this just to give Mechwarriors one more chance to saddle up and blaze their way into the glory of 31st Century combat. 2018 is certainly the era for fans to live up to the catchphrase: No Guts, No Galaxy!

MEGA MAN 11
Now here’s a lovely surprise: a new Mega Man 2D platformer from Capcom is being released. It will feature 2.5D graphics and gameplay, just like the last few Mega Man X entries, a slew of new Robot Masters, and game design work from long-time Mega Man developers, Koji Oda and Kazuhiro Tsuchiya. Hopefully, it won’t make you cry like an anime fan on prom night. Most expectations are high that Mega Man 11, Rockman 11 to the Japanese, will be out by this time in 2018.

ANTHEM
EA and Bioware are attempting an action-adventure shooter with RPG and loot-hoarding mechanics set in a far future. Obviously, it will be on alien world(s). Only in this instance, they’re using the power armour hook. Personally, it’ll more than likely come out at the tail-end of the year with the other AAA blockbuster games that are set to come out then. Will it be a big deal? Well, let’s see!

THE LAST OF US PART 2
Set five years after the original storyline, this game will play from the perspective of the first game’s heroine, Ellie. Naturally, we don’t know much about the game’s plot but we can expect the same stealth-based gameplay along with an equal amount of violent action sections from the first game.
There is no fixed date yet but many are guessing it’ll be by the year-end.

YOSHI
Yoshi’s Wooly World for the Wii U had been an adorable and deceptively tough platformer; pity no one really paid any attention to that console. Hopefully, with the Nintendo Switch’s success worldwide, at least outside of Southeast Asian regions, this sequel will get the love and adoration it deserves. While long awaited, 2018 is more than appropriate for Yoshi to shine!

KINGDOM HEARTS III
Yeah, we’re confident that this long-awaited action RPG, featuring the Magical Kingdom and Square Enix’s universe, will finally appear this year. With brand-new worlds and universes like Big Hero 6, Tangled, more Toy Story, and Monsters Inc, this Disney and Square Enix mash-up is sure to please fans who have been waiting since god-knows-how-long. Key-blades will have meaning again in Q4 2018.

ONE PIECE: WORLD SEEKER
The pirate-filled story of One Piece will finally have its first open-world action adventure game, with Luffy being the main character. Should be fun for the fans out there since they get to visit the towns and meet the colourful folks that populate the manga and anime. End-2018 feels more awesome already with the chance to properly interact with the Straw Hat Pirates will be a true experience of awe and wonder.

MY HERO ACADEMIA: ONE JUSTICE
As if Naruto fighting games aren’t enough, now the world will see the launch of a game based on the hit superhero manga/anime series about a boy trying to make it big in a superhero school without powers of his own. This has all the power beat’em up aspects the show of the same name is known for and then some. It’ll be pretty awesome to close off 2018 with some DETROIT SMASH!

SKULL AND BONES
Well, the Ubisoft Singapore team HAD to do something with that awesome naval combat engine from Assassin’s Creed IV: Black Flag and Assassin’s Creed: Origins, right? Point is, any new IP dealing with pirates and swashbuckling is very much welcomed in our books. Open sea gunfights and clashing of swords any day over dreary adventuring. This may be a turning point for Ubisoft Singapore if this game does well. Skull and Bones Set sails for the high-seas in late 2018.

TRAVIS STRIKES AGAIN: NO MORE HEROES
Welcome back, Travis Touchdown. We’ve missed you. The beam katana action-adventure meta-narrative game is back for the third time. If that trailer last year is of any indication, we’re in for an insane ride once more into the mind of its creator, Suda 51. Even if there is no release date yet, fans and eager gamers will be able to go back into action with Travis this year.

LEFT ALIVE
This Square Enix shooter features art and concepts from renowned Metal Gear artist, Yoji Shinkawa. Apart from a lot of shooting, players can explore a new sci-fi world and even pilot mechs. That’s pretty much all we know so far. Details will likely show up in the coming months and will do away with the ‘In 2018’ placeholder.

SOULCALIBUR VI
The tale of souls, eternally retold, is now storied again to make amends for the fifth game. Bandai Namco is taking another stab (or slice, heh) at its 3D swords-filled fighting game franchise by going back to the past; Mitsurugi and Sophitia in that end-of-year trailer did look like their Soul Edge counterparts, don’t you think? Also, while they’re at it, here’s to hoping they can bring back the awesome Chronicles of the Sword single-player mode from past titles too! It’ll certainly be a hack and slash fest for 2018!

PROJECT OCTOPATH TRAVELER
The folks who did the Bravely Default series is turning heads with this new RPG. Featuring 2D sprites with a stylised 3D perspective and eight protagonists with their own stories and gameplay mechanics, this one is for the RPG fans who yearn for an experience akin to the SaGa games. The adventuring will begin for these eight in 2018…sometime.


10 of the best iOS games ever

10 of the best iOS games ever
You can download and buy almost any game within any genre for your iPhone or iPad and you will almost certainly find options that keep you entertained for hours on end or for when you have a few spare minutes. We have reached the point where the most difficult aspect of iOS gaming is knowing what to choose and so here we present a selection of the very best titles from a variety of categories
to get you started. For very little money you can have hours of fun no matter where you are.

Alto’s Adventure
Alto’s Adventure does not look like a special game on the face of it, but the implementation and subtle gameplay ensure that you can play it in a variety of ways. Whether you are trying to reach a specific goal or simply want to fly through the air, this is a thrilling and calming arcade game that
works on every level. Summary One finger gaming just became a reality. A brilliantly absorbing game.

F1 2016
A true arcade experience on a phone? F1 2016 delivers this with stunning graphics, decent AI opponents and a career mode that is truly deep. The best feature of all though is the precise turning, breaking and strategy you need to use to be the best which makes this feel like a console quality title in your hand. Summary A wonderful racing game which feels bigger than the device it plays on.

INKS.
INKS. stands apart purely for the way it is presented and the organicfeeling animations which genuinely make you feel as if you are filling the playing surface with ink. Imagine pinball married to throwing paint on the floor in a very defined way and it is still hard to work out what it is, but it is
a superb experience. Summary This is a buttery smooth visual feast with deceptively simple gameplay.

Plague Inc.
Oh my. Your task is to destroy every living being on earth and if you succeed you will actually find yourself feeling good about what you have done. It sounds ghastly, but there is a huge amount of strategy involved in succeeding in this game and the end result is an absorbing classic that will grab you and not let go. Summary A fantastic strategy game which involves destroying the world!

Pokémon GO
How could we not include the game that took over the world for a few months and which is still played by millions of people every day? Pokémon GO truly does marry your phone with the real world and as time goes by, you will still feel the need to collect as many as you can. A brilliantly
put together game. Summary Bring the outside world to your phone and enjoy new experiences.

SpellTower
Not all great games need to be based on amazing graphics and speedy animations because sometimes you just want to take a moment and play with words. In SpellTower you will find yourself taking many minutes looking for one word and then blazing through a series of solutions that will make you feel great. A classic word game for everyone. Summary One of the best word games available on any platform.

Really Bad Chess
It sounds impossible to take a game like Chess and make it play in a completely different way that still feels familiar, but the developer has done so here. In this game Chess becomes more accessible to people who struggle to play it and the number of different elements on show makes it potentially a
very important development. Summary It’s hard to believe that Chess has been tweaked this way.

8 Ball Pool™
iPhones connect us to our friends and colleagues with ease, but the very best games can connect us to people anywhere in the world. This style of gaming feels more realistic and personal than simply playing against an AI opponent and over time you may find yourself getting more than a little involved in trying to beat a stranger. Summary A simple pool game that stirs the emotions.

Space Age: A Cosmic
Adventure Mobile games are typically considered to be of the genre where you can play for a few minutes and then put them down again. Space Age, however, will take you through a journey that is
varied, at times perplexing and always interesting. It is a true adventure game with lots of personality thrown in. Summary It will take many hours to navigate through the wonders of Space Age.

Threes!
Originality is the name of the game here because it feels like a completely new gaming concept that others are already trying to copy. It’s a simple tile game offering a highly impressive environment
to play in and a mechanism which makes it one of the most addictive gaming experience anywhere. You won’t be able to put it down. Summary Numbered tiles have never been this much fun.


Resident Evil Revelations I’m on a boat, and I’m pooing myself

Resident Evil: Revelations was a big hit on 3DS last year, with many heralding it as the best Resi game in several years. More emphasis was given to old survival-horror elements over the action-movie theatrics of the last couple of main series releases, with exploration, puzzle-solving and inventory management back in a big way. Which makes us happy to announce that it’s coming to
PS3! Wahey.

Revelations is set between Resi 4 and 5, depicting events shortly after the establishment of the Bioterrorism Security Assessment Alliance, or BSAA, founded by Chris Redfield and Jill Valentine. You may have heard of them.

Players control Chris and Jill in separate campaigns, each with their new respective partners. Jill’s
story takes up most of the running time, occurring on a virus-stricken cruise liner, the SS Queen Zenobia. All manner of nautical nasties have done their usual thing (murder, mostly) and it’s up to you to get rid of the lot and discover the conspiracy behind the whole mess. For Jill, this probably amounts to a standard day in the office at this point. Not even fussed, mate.

Chris levels pop up here and there to mix things up and the two campaigns eventually converge into
one big crazy story. Seriously, who keeps making all these viruses? Capcom has promised that the
console port will feature improved high definition visuals and exclusive extra content, such as new
monsters, extra difficulty levels and additions to the Mercenaries-alike “Raid mode.”

The only iffy bit of all this is the fact the game is going to have a full retail release, for a full retail price. A bit much for a handheld port, perhaps, but the fact remains that this is a game for all oldschool Resi fans to get excited for. Hopefully Capcom will pump it full of enough new content to make it worth the dosh.

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Deadpool The merc with a mouth gets a game. Expect puns

The merc with a mouth gets a game. Expect puns

Wade Wilson is better known as Deadpool, the uniquely psychotic mercenary and occasional X-Men member who has been a favourite of comics fans for years. With increasing fame and media presence, the time has come for the crazy Weapon-X experiment failure to get his own videogame.

Deadpool is famous for breaking the fourth wall, talking directly to comic readers via his distinctive
yellow speech bubbles. His fi rst starring role in a game seems to be no different. The merc with a mouth starts insulting the player before you can even get started, tapping the inside of the options screen and asking if you have any girls “back there.” Cheeky bastard. Even the tutorial is direct,
Deadpool himself telling you to “press X to jump” and such, in a bored, knowing manner. The guy
knows he is in a game, he knows you are controlling him, and he knows you know he knows.

Nolan North, who you may recognise from every other video game ever made, returns to voice Deadpool after portraying him in other games. From what we’ve seen so far, the writing is very funny, full of nerdy references that gamers will enjoy. It isn’t highbrow, but toilet humour is scientifi cally proven to be always hilarious.

Gameplay looks to be standard hack and slash affair, with Deadpool’s signature katanas and dual pistols making up his standard arsenal, and seem like a pretty damn perfect set for a game. Other
weapons are promised, including outlandish stuff like sledgehammers and laser guns. It’s gory as all hell, in a tongue-in-cheek manner.

Recently revealed to also be in the game is Deadpool’s long time partner/friend/worst enemy, Cable.
If the two pair up as well as they have done in their classic comics run, we can’t wait. High Moon is
responsible for the actually pretty decent Transformers games of the last few years, so Deadpool could
shape up to be great.

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Killer Is Dead Erm, he looks pretty alive to us

Suda51 is the crazy genius responsible for some of the best cult hits in gaming, including recent favourites Shadows Of The Damned and Lollipop Chainsaw. Next up from his brain thoughts is Killer is Dead, said to combine the gameplay styles of No More Heroes and the utter classic Killer7 into a gloriously stylish action smorgasbord.

Killer Is Dead stars professional hitman Mondo Zappa as he… no, wait, lets take some time and really think about this. Killer Is Dead stars professional hitman Mondo Zappa. If the name alone doesn’t make you want to instantly play this game, check your priorities. They are wrong. Anyway, Mondo Zappa (yes) is a 35-year-old assassin working for the Brian Execution Firm, tasked with executing a series of dangerous criminals. He is aided by his boss, the Bond-girl-esque Vivian Squall, flatmate and assistant Mika Takekawa and chief of the Execution Firm, cigar-smoking cyborg Brian Roses.

Mondo sports not only a spiffy suit, but a sweet katana and a cybernetic left arm. A man of taste and something of a womanizer, when the shit hits the fan he becomes fearless and ruthlessly efficient. In short, the guy is a badass. One of his targets is Victor, a thoroughly bad guy who steals “musical talent” from musicians in order to play songs full of negative emotions, spreading throughout the world. Yeah. Can we just give this the best game ever award now? Gameplay looks to be along the
lines of other Japanese hardcoreaction games such as Devil May Cry or Bayonetta – frame-perfect controls and long combo strings aplenty, with Mondo’s robot arm morphing into a variety of forms to assist in the slaughter, like a gun or a drill. Copious doses of blood and dismemberment are a given, with Mondo making pretty damn sure he gets his job done, and not subtly. Absorbing the blood builds up an “Adrenalin Burst” attack, that when unleashed instantly decapitates nearby enemies. Nasty.

Suda’s eccentric touch is easy to see, even in these early stages. In a recent interview with Famitsu he detailed a stage where Mondo, on a motorbike, fights against a yakuza member riding a tiger. The battle takes place in Kyoto, with Suda saying, “I guess we felt like overseas gamers ought to see what
Kyoto looks like.” If we ever visit Kyoto and it doesn’t feature assassins on bikes fighting gang members on tigers, there is going to be disappointment. Mondo will also be able to flirt with “exotic ladies” in something called “Gigolo Mode.” We don’t think this game is going to win any awards for political correctness, but if it’s as tongue-incheek as Lollipop Chainsaw was, we don’t mind.

The graphics seem like a next-gen update of the wonderful cel-shaded style of Killer7 and man do they look pretty. Cel-shading is nothing new in these cynical times, but when done right it can still be breathtakingly good-looking. “We tried going for more realistic visuals at first” says Suda, “but it just didn’t produce the sort of unique expression we wanted. So we really pursued an art style that seemed
modern with our shading technology. There was a lot of trial and error behind what you see now.” The end result is simply beautiful, and these are some of the most striking screenshots we’ve seen in some time.

The game is apparently about 70 per cent complete, and Suda is hoping for it to release in Japan this summer. A Western release will soon follow, thankfully, as it’s already been picked up for Europe. Another quirky masterpiece in the making, then? We hope so. Grasshopper never lets us down.

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Tales Of Xillia Don’t be Xilly, read this preview

Think of long-running, wildlysuccessful JRPG franchises and odds are Final Fantasy will come to mind. If you’ve got some knowledge, perhaps you’ll think of Dragon Quest. What tends to be forgotten in the west is a third series that completes the trilogy of huge franchises. The Tales Of games have been big business in Japan since the days of the Super Nintendo, yet haven’t garnered as
much attention here as their Square- Enix developed rivals. Gamecube hit Tales of Symphonia was the first to really pick up some steam here, and since then we’ve seen a steady stream of games delivered to our rainy shores.

Tales Of Xillia is the latest in the franchise to reach Europe, although it came out in Japan two years ago. Better late than never though, eh. Xillia follows 15-year-old Jude Mathis, an esteemed medical student attending a prestigious school in the world of Rieze Maxia, and Milla Maxwell, a mysterious
woman with a shrouded past. Players choose one of the two at the start of the game, changing their initial experience. The pair quickly meet up, setting out on a journey to destroy a dangerous device and restore mana to the world. On their travels they meet a number of other characters like cool gunman Alvin (not a chipmunk) and dangerous old codger Rowen.

The thing that sets Tales games apart has always been their battle system. Known as the “Linear Motion Battle System”, or LiMBS (smart!) These fights tend to be real-time, speedy, and totally manic, a far cry from the considered turn-based battling of many JRPGs. Each Tales game has played around with the formula, and Xillia features the DR-LiMBS system – the DR stands for Dual Raid.

The basics will be similar to anyone who played last year’s Tales Of Graces f. Characters can use both regular attacks with X and magical “artes” with O, chaining the two together with a limited number of AC points that regenerate over time. Everything is done in real time, with balancing the rate you use AC points in relation to their speed of recharge the main thing to consider. Players can take control of any party member by setting them as the “leader”, but unlike some past games, can’t
actually change character during battles.

A new “Link” feature allows for two party members to be paired together, attacking simultaneously
and performing powerful “Link Artes.” Character pairings can be changed on the fly during fights with the D-pad, and from what we’ve played, the system seems simple to pick up but loaded with depth for the hardcore fans to master. For the first time in the main Tales series, the game is played
from a true thirdperson, behind-theback viewpoint, with a fully moveable camera. Past titles used an
isometric, top-down fixed camera most of the time. Some of the environment design is reathtakingly lovely, and the new camera massively helps you appreciate them.

Tales Of Xillia earned a great 39/40 score from Famitsu in Japan, becoming the highest-rated Tales game in the esteemed magazine. It sold loads and got other rave reviews from long-time series fans, so Tales aficionados over here can rest easy and get good and excited. Lovely anime cutscenes make
voice-over option may annoy the diehards. Let’s hope for the best, shall we? We don’t have a specific date for Tales Of Xillia yet, but it’s definitely coming this year, and we’d wager sooner rather than
later. Lapsed Final Fantasy fans looking for a traditional JRPG experience with some modern flare to boot could do far worse than taking a gander.

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Remember Me Beware the Errorist threat

When we think of Capcom, we still think of God Hand, Dino Crisis and Onimusha. Remember Me isn’t the type of game you traditionally associate with the Japanese publisher, but maybe that’s the point – this is a company that took an enormous risk with the Devil May Cry series in handing it to a developer that some believed would screw it all up. It didn’t. It turned around one of the best games of the year, even if comment thread specimens didn’t want to believe it.

But a new IP from a new developer based on ideas that aren’t easily communicated in trailer or press
release form is a far riskier move in that direction for Capcom – and while there are signs of roughness in the overall fiction of the world and the way that’s delivered to the player, Remember Me
intriguingly uses Assassin’s Creed and Batman-style typical mechanics as the basis for rather complex storytelling and combat ideas. It’s refreshingly hardcore, with an impressively constructed linear interpretation of Paris that offers a beautiful mix of reallife and sci-fiinfluences.

We start with Episode 0, which annoys us right away (we’re just not big on prologues. Elmore Leonard says they’re a bad idea, and he knows what he’s talking about). This is titled ‘Rebirth’, and introduces us to Nilin, a young woman trapped in a lab at a company called Memoreyes who’s recently had her memories wiped.

Sadly for her captors, Nilin still has residual memories of her past life, which must be erased – you get the typical videogame ‘interactive narrative’ thing where you stagger through a corridor of nasty stuff happening, unable to really do anything but watch. Nilin manages to escape Memoreyes, which is when the real game begins (Episode 1!) – guided by a benefactor (i.e. Otacon-type guy but slightly
cooler) Edge, Nilin is what’s known as an Errorist (lol), one of a group of people who stand against Memoreyes.

This corporation, see, takes people’s memories and sells them on, as everyone in the future has brain
implants known as ‘Sensen’, meaning that memories can be deleted, instigated or remixed, which tallies quite nicely with the typical mechanics of progression in a videogame, even if the terminology leaves something to be desired.

Our hands-on starts with Nilin in the slums of Paris, where she’s faced with a group of mutants talking nonsense and generally causing a bit of creepy upset (basically like a futuristic version of Boscombe, a town near the Play offices that has a polluted cloud of vodka hanging over it). Here, we see the basics of Remember Me’s combat – think Assassin’s Creed mixed with the clearly superior counter-heavy scrapping of Arkham City, an emphasis on keeping yourself moving to avoid hits while timing delivery perfectly.

These Parisian depths feel like a beautiful amalgamation of different fictional influences, from Judge Dredd to Blade Runner with a little Mirror’s Edge thrown into the colour scheme, too. There’s a retrofitted quality to the environment, a certain basis of reality in the way Paris is presented (Dontnod, the developer, is based there, so it’s no surprise to see the architecture of the city replicated beneath the shiny futuristic stuff). Remember Me is entirely linear, the idea being that they’d rather you saw a concentrated vision of this fictional backdrop rather than having an open world for the sake
of it, and this approach works, offering a huge range of different locations throughout its first couple of hours. There’s another slightly less frenetic sequence in an Errorist hideout called the Leaking Brain, a Moe’s-style bar that again adds a sense of detail to the context here.

From dilapidated urban slums to the street level, posh bits of Paris, there is a sense that Dontnod has been carefully considerate in constructing the world of Remember Me. Indeed, that’s what impresses us most about the game so far – getting around is a slightly rigid affair, in the vein of Uncharted’s
platforming without feeling quite as light to control, but it functions well enough. Everything is signposted to the point where it’s pretty much impossible to get lost – this could do with toning down before the game’s release, admittedly, since there could be a satisfaction in having the opportunity
to feel like you’re exploring this indepth world properly.

When it comes to combat, on the other hand, Dontnod is happy to let you sink or swim. One of the founding ideas of Remember Me is the combo lab, essentially a way for players to create their own attack patterns by assigning moves to slots (a little like God Hand, but less malleable – at least in the
stages we saw), yet rather than just resulting in different animations, you can use combos to heal Nilin, too. So, you could line up a four or five hit combo where one move will do lighter damage, but restore some of Nilin’s HP on the fly, a handy mid-combat tool that keeps the flow of the battle  going, as opposed to Batman where that diminishing health bar frightens the shit out of you during round four of the game’s harder challenge rooms. We can see how the combo lab could evolve into something quite in-depth as the story progresses, since even in these early stages there’s scope to
tailor Nilin’s moves to your liking.

Basically, if you’ve played the Arkham games or Sleeping Dogs (an obvious exponent of the Batman
series), you’ll get Remember Me right away. It’s paced in much the same way as games like that, too – there’s not a huge action thrust through the story, and you’re encouraged to absorb the environmental detail, which is the correct approach when the world is as welldeveloped as this.

Characters and story are the main issue with what we’ve seen of Remember Me. The game’s bad voiceacting has very much been a talking point of the game so far, and we can see why – it’s not convincing and the accents sound all over the place, the latter of which would be fine as a deliberate stylistic touch if the dialogue wasn’t delivered with a fist of ham. Meanwhile, Nilin herself doesn’t
exactly look memorable. She looks like the protagonist from Hydrophobia Prophecy – remember her? No?

That’s our point. She’s not an iconic character, and traditionally we expect that from Capcom protagonists, so it’s disappointing to find that neither the design of the protagonist or the way she’s portrayed is even remotely interesting to us. There’s a great world here in artistic terms, but the people that populate it are typical videogame archetypes. We suppose the finished product might turn us around on this, yet we’re not convinced. Then there’s another element in Remember Me that is almost entirely detached from everything else: memory remixing. These are minigames where Nilin jumps into a person’s mind to manipulate their recollection of certain events, in order to alter their personality in the present, which can work to her advantage. These function as point and click style
minigames where you experiment with cause and effect to change how a scenario plays out.

You fastforward and rewind through a memory, seeking out interactive variables here and there before activating them to alter the sequence of things going on. We don’t want to spoil the actual content of them, however, as we feel that’s the most interesting storybased idea the game has, an almost Heavy RainmeetsLinger In Shadows venture that stands in isolation.

We find it bizarre that Dontnod is succeeding with so many ideas in Remember Me while just cosmetic things are letting it down, like the writing or voiceacting. These aspects, however, are the difference between life and death when it comes to selling a title in the current market. You too may
be put off by some of these elements when seeing the game in trailer form, but there’s more to Remember Me than that, with the combo lab attempting to push that highend melee combat model forward by letting you play with its fundamentals.

It’s not an entirely straightforward experience, which is potentially risky in this genre – and we like that. We live in an age where developers are determined to hold the hands of amateur players with ultrasimplified tutorials, while more experienced players are taught how to move, aim and shoot for the millionth time. Why not release a game where players have to actually learn something in order to
make it work? There seems to be a lot of scope to Remember Me’s combat, and if this houses as much depth as it claimed to during our handson, Capcom could have a cult hit on its hands.

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Killzone: Mercenary

Follow the money

We wondered for a little bit why Killzone on Vita fell off our radar, and then we remembered – the one-two horseshitstained punch that was Resistance: Burning Skies and Call Of Duty: Black Ops Declassified put us off the idea of PS3’s best FPS franchises coming to Vita, just because the two
Nihilistic-produced titles systematically removed what was interesting about both properties. Killzone: Mercenary, however, is a full-fledged Killzone title developed by Guerrilla itself as well as
companion studio Guerrilla Cambridge, built on the same impressive technology that debuted the PS3’s power to begin with.

Mercenary has a campaign that will last roughly six to eight hours, taking place in the same timeframe as the second and third games. We won’t go into the story in too much depth, since discussing the mythology of the Killzone universe is basically like talking about Universal Soldier’s mythos; nobody’s that interested. The twist here is that you’re playing as Arran Danner, a mercenary who follows the cash, which takes him between both the bad guy space-Nazis Helghast and nice chaps the UCA, offering players a snapshot of both sides of this epic conflict.

That could potentially offer some interesting story-based scenarios in the campaign, which is carrying
over and actually building upon the ideas established in the home console Killzones, primarily the
Half-Life 2-beating AI and a freer mission structure. The levels unveiled so far offer more than one route through environments, and for once stealth can be properly employed as a tactic throughout these story bits. It won’t be open-ended, but Guerrilla has taken healthy inspiration from sandbox-style games.

Then, of course, there’s the other stick of dynamite in Killzone’s belt: good looks. Killzone’s universe might not be the most involving, but it has always taken us to locales that look better than almost anything else running on PlayStation technology; this is no exception. Built using the same engine, the Vita’s power actually impressed Guerrilla to the point where they discovered they’d initially underestimated its capabilities. You can see the screens – it’s one of the first Vita games that actually manages to look like a high-end PS3 title. For showcasing the technology alone, Killzone: Mercenary is worth keeping an eye on.

Then there’s the rather exciting prospect of having the Vita’s first decent multiplayer shooter. With eight players per level, it appears Killzone is gunning for a Call Of Duty audience with the dynamic established within that figure, as opposed to the overpopulated and brilliant choke points that mark the peak of Killzone’s brilliant online modes on PS3. There’s also a card-collecting aspect to it, as well as scaleable leaderboards that mean it’s harder for players to stay at the top. Finally, a shooter that could be worthy of Vita’s two comfortable, brilliant analogue sticks, made by people who actually know what they’re doing within this genre.

Between Mercenary and Tearaway, then, it’s not as bleak a year for Vita as we’d previously assumed, providing Sony manages to get these titles out the door sooner rather than later, and that there’s more to back the machine up come Christmas time. Given Sony’s stock of developers, it’d be nice to see
more of them assisting the transfer of its biggest franchises to Vita – or, you know, Sony Bend could just make them all. That developer seems to know what it’s doing.

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Why Crysis 3 is the ultimate sequel

CRYTEK GIVES NEW YORK A TOTALLY TROPICAL TASTE, TRANSFORMING THE WORLD’S GREATEST CITY INTO A WAR RIDDEN FUTURISTIC DOME, FUSING  TOGETHER THE IDEAS BEHIND THE ORIGINAL CRYSIS AND CRYSIS 2. PRODUCER MIKE READ EXPLAINS WHY THIS TRILOGY CLOSER IS THE BEST OF BOTH WORLDS

It seems a little unfair that the Crysis series is probably better known for its developer’s insistence on pushing technology to its very limits, rather than being acclaimed for its merits as a first-person shooter franchise par excellence. The PC original was regarded as the video game that only a select few with top-of-the-range hardware could play, rather than being a tremendous and uncommonly open shooter in its own right. Crysis’ graphics might have been its most marketable asset, but some wrongly dismissed it as a case of style over substance.

Meanwhile, for the follow-up, the German publisher dialled back its ambitions a touch, releasing the more linear Crysis 2 on consoles as well as PC, a decision that didn’t sit too well with the desktop hardcore. Even so, it was still a rock-solid FPS with looks that, while not quite as astonishing as its forerunner, could slacken a PS3 owner’s jaw at ten paces. The lush, verdant jungles of the original were traded for the decaying urban grid of a ruined New York City, a better fit for a narrower, more focused shooter.

The story continues next February with a game that may not be the end of the line for the Crysis universe, but seems likely to tie up the final strands of this particular narrative – and Crytek
has come up with the perfect excuse to combine the best of both predecessors. The Big Apple now lies under a giant Nanodome, built by the nefarious CELL Corporation ostensibly to protect citizens from alien invaders, but really to harvest a secret energy source. The result: many streets are now rivers, forests have sprung up around skyscrapers, and elsewhere there are boggy marshlands to negotiate.

In other words, a lot has happened in 24 years since we last saw protagonist Prophet and the rest of the Delta Force marines. Producer Mike Read was only too happy to fill in the gaps for us. “Over that period of 20+ years basically what [the CELL Corporation] have done is to harness the world’s energy resources to get really cheap power, sell it to the public and manage to create a monopoly over this specifically.”

And what of our Nanosuited friends from past games? “We’ve also introduced Psycho into the scenario and of course Prophet’s in there – [he] had been doing a number of operations over the course of the 20 years alongside Psycho. Prophet was eventually captured and that brings us to where we are at the start of Crysis 3, where Psycho has basically broken Prophet out of incarceration after a number of years.” And hell bent on revenge, we shouldn’t wonder.

From what we’ve seen so far, Crytek has expertly combined elements of the earlier titles, the natural
beauty of the tropics juxtaposed with familiar New York landmarks in a way that feels remarkably
unforced. It makes Crysis 3 feel less guided than its immediate predecessor, without overwhelming
those who don’t like getting lost. It’s Crytek having its cake and eating it, in other words, and it’s a
pretty tasty cake at that.

Still, Read doesn’t believe it was a deliberate decision to combine the two – at least, not initially. “Between our designers and the different things they wanted to do I don’t necessarily think this was an intent going into creating Crysis 3, but they started looking into it, looking at different elements and it kind of evolved into [this]. My understanding of where it came from is that we had New York City, we wanted to come back to [it] but we also wanted to do something different and using the dome itself allowed us to create a fiction around how New York has been destroyed, how the buildings have been broken down and how various areas of this jungle environment have grown due to the greenhouse effect because of this dome. So I think that’s where that main piece [of fiction] came from.”

The idea of pooling the strengths of the first two games is an enticing proposition, even given that the two were as different as an FPS and its sequel are likely to get, the more open elements of the first game being scaled back in the second. Yet Read doesn’t believe that the differences between the first two games were quite so pronounced.

“Crysis had a very open visual style which people perceived as an open world game and people still
talk about it like that when in actual fact it really wasn’t. Sure, there were a lot of ways you could go
and a lot of things you could do, but we still kept people on a path. I think when we brought that into Crysis 2, these tall buildings created a bit of a closed-off façade that the game was a lot more linear, a lot more contained. So in dialling things back a little and bringing in the jungle elements and the urban elements I think we’ve hit a pretty good middle ground with that. And especially those who get their hands on it for the first time, they’ve been coming back to us completely unsolicited and saying ‘Wow you guys really did hit a good middle ground between the two games’. ”

Indeed, it’s evident from our conversation with Read that user feedback is very important to the publisher. He discusses the desire from players to “throw in a lot more suit powers”, as well as the game’s increased difficulty for top-tier players (“Wow, you guys really did make this hard”). It turns out three games in it’s not too difficult for Crytek’s designers to come up with ways to make a hardened soldier in a super-powerful Nanosuit still feel vulnerable. “I don’t think it’s really been an
issue,” he shrugs. “I think at this point it’s become a lot more refined, even though we’ve changed the AI systems over the course of the three games.

Of course, that isn’t to say that there aren’t more ways to deal with enemy threats. It turns out Prophet is something of a futuristic Errol Flynn, as handy with a bow as his contemporaries are with a gun. An archer is only as good as the projectiles they fire, though, so fortunately he has a number of different arrow tips that give him a tactical advantage in combat. “We were actually looking at a few more tips to have in there,” admits Read, “but I think we’ve kind of balanced that out with the four tips. The bow itself was brought in to tie into the whole hunter theme, [as a way of] rolling back a little to elements that we had of the jungle theme in Crysis.”

As a predator in this literal urban jungle, then, it seems you can go as quiet or as loud as you like. “What we’ve seen in some of the playtests is that people are using the bow in quite a number of ways in various combinations, and not just standing back and using it in a cloak scenario,” says Read. “Past that, certain weapons have various ammo types from electric to explosive or thermic ammo, and of course the number of attachments has been increased. We really want to provide people with a whole number of options for the way they’re comfortable tackling [a given situation], so that everybody who goes through it is experiencing it in a much different way.”

Does that mean Crysis 3 offers something for everyone, then? The return of secondary objectives
for each mission should ensure players are more willing to explore their environment thoroughly, but as an entirely optional aside, they can be safely ignored by those wishing to play the best video game of all time as a more straightforward, linear shooter. Translation: whether you prefer Call Of Duty or Far Cry, you’re in luck. And that goes double if you’re a fan of deeper environmental interaction. “There are things that we’ve done through the visor itself,” explains Read, “and that’s mainly in terms of what we’ve introduced with the hacking mechanism, being able to hack mines or turrets or special crates to open them up and stuff like that.” There’s also the small matter of Prophet’s Nanosuit being infected with alien DNA, which allows him to use a variety of otherworldly weapons. It’s another nod to the original, but Read believes the idea has been far better integrated into the game’s lore on this occasion. “Over the course of those 20+ years the suit has essentially evolved [through the infection] and that allows us to bring in these weapons. There was actually alien weapon in Crysis that people could use – it was kind of a freeze ray, but that didn’t really have any story elements specifically tied to it. But in this one, yes, there’s going to be five different alien weapons, and yes, there are some balancing mechanisms that’ll play into that because they’re pretty powerful and a lot of fun to use.”

Those with a penchant for destruction, meanwhile, are catered to far better than in Crysis 2. Trees can be mown down, you’ll regularly see logs and concrete barriers blown apart, while masonry cracks and crumbles under heavy fire. Destruction isn’t quite on Crysis levels, where players could embark upon a sustained campaign of deforestation by arming themselves with a minigun and chewing
through rows of trees, but there’s a very good reason for that. “It’s fun to a point,” admits Read, “but it’s also very taxing on the software side – and the hardware side as well.”

It was bound to come to this. Read talked at E3 about Crytek struggling to squeeze any more juice out of the current consoles, and it’s evident it’s a bit of a sore point for a software house that prefers to push the technical envelope.

“Throughout the course of development of Crysis 2 there was a lot of pain experienced in getting our engine to run on the consoles specifically,” Read sighs, “which not only hindered us from a technical side but also hindered us from our designers’ side as well.

That became a big blocker for a lot of the things we really wanted to do with 2. In this one, we can push it so far, but we’re definitely feeling the constraints. This is the longest generation of console that the world has really ever seen and I think in some ways the SDKs [Software Development Kits] improved and in other ways they didn’t, but we’re trying to squeeze as much as we can to give console users the best graphical experience possible. But we have so much more in terms of seven years of hardware that has advanced over that time to be able to take the PC side and push that even further.”

We can’t say we’re entirely surprised to hear this. As good as Crysis 3 looks on the PlayStation 3, put it next to the PC version and the difference is night and day. Graphics aren’t everything of course – even Crytek happily admits this – but at the same time it’s impossible to deny that the ever-evolving PC market has sped away from the comparatively underpowered current-gen consoles, leaving
them choking on its dust. So is Read hankering after PS4 for what his studio wants to achieve?

“I think everybody pretty much is at this point!” he laughs. “Pushing ahead and creating new tools and innovations and putting these tools in designers’ hands… I think there’s definitely a place for a bigger focus on gameplay sometimes, but I think there’s also a place where we need to keep accelerating this. The PC is light years ahead at this point and it’ll be interesting what happens with the next generation of consoles and whether they’re going to be able to hold out as long as they did with this generation just given how quickly technology is advancing at this point.”

Then again, the progression of hardware isn’t the only important factor to consider in the current market. The rise of free-to-play is the industry’s current hot topic, with more and more developers looking at new financial models as retail figures continue to drop year on year. It’s a discussion that Crytek has already waded into, but it’s clear Read still sees value in the traditional console experience.

“This is a whole argument unto itself,” he says. “Everyone’s watching Dust 514 on PlayStation and where that’s potentially going to go as really one of the first free-to-play [console games] with micro-transactions built into it. I think there’s room on there for that and I think you’re probably going to see some big changes, but I think there’s still room for maintaining the payup- front best video games of all time as well. People talk a lot now about all single-player games [being] obsolete, that they’re going to disappear and it’s all about multiplayer, and I really don’t think that’s true at all. There are quite a large number of people still out there that love single-player games. I think there’s also a whole number of ways, especially over the next five to ten years that we’re going to see single-player games evolve into something different, and what that is we’ll have to wait and see. But it’s definitely an interesting bullet point right now [with regard to] where the next-gen consoles are going to go.”

So if Crytek is watching next-gen consoles with great interest, you can probably take that as a near-as-damnit guarantee that we’ll see Crysis return on said hardware. We may have seen the last of the likes of Prophet, Psycho and company, though that’s not the spoiler you might think it is. Instead, it may just be that this third instalment marks the closing of this particular chapter in the Crysis universe.

“That would probably be the best way to put it,” agrees Read. “Back in 2007, when our CEO Cevat [Yerli, co-founder and president of Crytek] said he had originally cited this to be a trilogy I actually meant to ask him this question. Whether we’re going to do three games and it was going to go on further I guess is another question that would be specifically for him to answer, but I think what we’ve done over the years is to build the IP out and maintain it. Over the past five years we’ve done a pretty good job to take it beyond this [story] and into new places but still contained within the Crysis universe itself. But yes, this is kind of a finale to this piece.”

If Crysis 3 is an end point for this particular narrative strand, it certainly appears to be going out on a high. It’s another boundary-pushing shooter that feels like a Best Of Crysis while offering its own unique bonus tracks. Sure, it might make the PS3 creak and groan at the edges, but it promises an action-packed climax to a trilogy that should finally cement the idea that Crysis deserves to become as famous for how it plays as how it looks.

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Dead Space 3

Executive producer Steve Papoutsis on why co-op really works for the survival horror series

When Dead Space 3 was revealed with co-op, there was a concerned reaction from fans. Did you  expect this reaction?

To be honest when we sat down to unveil the game at E3 we thought there was a couple of ways we could go. We could show what we’d shown before for a Dead Space game, and players would probably feel ‘Oh, it’s just another Dead Space game’. Or we could show the innovations we were bringing to the franchise, so we opted to do that. We showed a bunch of new stuff: exteriors of Tau Volantis, new enemies, human enemies, a giant boss, an epic sequence with the giant drill – we showed a lot of new stuff.

What we wanted to do was show new stuff and show people that we are evolving the franchise. The
addition of co-op on its own – a lot of people are going to have questions about it, we knew that was going to happen. But hopefully by showing people the video game [at events] they can see with co-op that we’re taking it in a very Dead Space direction and we’re innovating with a feature that nobody’s ever done before.

Are you concerned people will just play through single-player only?

A lot of thought and content has clearly gone into co-op. Absolutely. That’s one of the challenges when we started the video game – we knew that we were going to make content that some people just weren’t going to look at because they just don’t want to play co-op. That’s okay. It’s their loss, because they’re missing out on some of the cool stuff that the team’s done.

But hopefully when people see it, read about it, hear about it on a forum and read about how our
co-op actually works and how it’s actually additive through an article like this, people will become more interested and want to play with their friends. One of the goals with adding co-op was to have people be able to experience Dead Space with a friend – the feeling of going to a horror movie with someone. You can go to a horror movie with somebody and you can both be really into it, it’s tense and you’re on the edge of your seat, or you could go with a friend and you’d be drinking your sodas and eating popcorn and laughing but having a great time – we wanted players to be able to experience the game in a number of different ways.

So are you confi dent it will retain the same level of horror as the previous games, even with co-op?

I think it’s going to be similar in terms of what people say at the end. Some people think Dead Space
is really scary, some people don’t think Dead Space is really scary – if you read forums you’ll see a varying opinion. It’s very subjective. I’m not going to make a claim that it’s the scariest game or it’s not the scariest game – it’s up to the individual. The most important thing for us is that we’re making a Dead Space game – a Dead Space game is composed of many things, survival, horror, tension, action, immersiveness and atmosphere. All of those things.

When did you look at co-op? Was it something you considered after Dead Space 2?

Co-op was something we even talking about with the original Dead Space. At one point quite late in
development we had the engineering team set it up so we could play the game in co-op – at that point all we had was another Isaac, it literally was a tacked-on Isaac, and we ran a test and we thought ‘this could be kind of cool’. But we weren’t going to do that unless that character had a meaningful story and was integrated into the story – we couldn’t deliver co-op on that game at the level that we wanted to, so we didn’t do it.

The decision to make Isaac speak split the audience somewhat – how do you feel it’s worked out?
That’s another one of those decisions that’s born out of the story and what’s happening. My feeling was I thought it made a lot of sense in Dead Space that Isaac didn’t talk, because there weren’t a lot of people to talk to; he’s not going to go around talking to himself, that would be weird.

In Dead Space 2 he’s around a lot more characters, plus he’s got a lot on his mind – and he’s kind of pissed off that he’s been incarcerated and they’re pulling shit out of his head, so he’s got some things to say. That was a natural evolution of the character, just like showing his face more often – we wanted to develop more back story around Isaac, more personality around him.

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Fallout 4 The Commonwealth needs you

Fallout 4 The Commonwealth needs you
It has been one of the biggest hype-trains in recent history; when Fallout 4 was announced just before E3 2015, people went nuts. And publishers Bethesda played on that, allowing their own promotion engine to be fuelled by the enthusiasm of fans the world over. So when Fallout 4 finally arrived, it is little wonder that a number of people were disappointed by what they got.

Even after all this time, when people should be well aware of how hype often gets out of hand, and when they should know that no game is perfect, they still managed to make themselves believe that Fallout 4 would, somehow, be a game that offered no problems. But by its very nature, Fallout 4 was almost guaranteed to be imperfect; any game as ambitious as this one is bound to have issues to some degree, and Fallout 4 is no different.

People the world over started identifying things that they didn’t like: graphics that were a bit poorer than ere expected, bugs that occasionally lead to hooking up on geometry or seeing odd things like models in strange places, that kind of thing. But it would serve one well, when approaching a game like Fallout 4, that (in the first instance) some truly great games have also had bugs and, most importantly, highlighting individual elements that may leave something to be desired in only truly relevant if these elements ruin the entire experience.

And, quite honestly, in the case of Fallout 4, they do not. You can bitch all you like about the little things that annoy you, but when the game is considered macroscopically (as it should be) there are very few things that might hamper the overall experience, and certainly none that will ruin it. The game begins with the player’s chosen character (created with a robust set of character editing tools) being rushed to Vault 111 in the face of total atomic annihilation. We’re not going into detail here, because spoilers suck… suffice to say that when the character awakens, you find yourself in a very different world, a long time after the bombs fell. After a few short “mandatory” missions that get you into the swing of things, Fallout 4 sort of stands back and says “It’s a great, big world out there… have fun with it”. And so the player begins a massive journey of discovery, in which the central plot plays only a small part. Fallout 4 isn’t about getting from A to B in a narrative; it is about living in a post-apocalyptic world.

To this end, Fallout 4 gives the player every tool it can muster in making the experience as engrossing and complete as possible. From the basic stuff, like character modification through skills and visual elements, and gear modification and improvement, right through to the establishment of settlements, Fallout 4 offers the player an absolute ton of things to do. I found myself spending long sessions tweaking my guns and armour, or fasttravelling between my settlements to make sure that they were properly defended and offered the growing number of residents what they required. I would spend hours constructing buildings in the game’s settlement editor, or hunting through random piles of scrap to find the elusive materials I needed for a particular weapon part. And then I would spend other long sessions exploring the Commonwealth (once called the Commonwealth of Massachusetts, the vast setting for this game) and completing missions. Between crafting, tweaking and combat, Fallout 4 has consumed many hours for me, and I still have a ton that I want to get to.

It’s the kind of game that you can spend a good long time playing, with short sessions great for tweaking and crafting, and longer sessions ideal for finding new places, trading and, of course, shooting stuff. And, thanks to the fully open nature of the world, you’ll be spending some of that time running away from enemies you cannot handle just yet, licking your wounds and levelling up before going back to exact a bit of revenge.

While Fallout 4 does give you every tool you need to survive in this world, it doesn’t hold your hand. It doesn’t guide you in any particular direction (the quests feel more like suggestions that compulsions) and it simply lets you get on with doing your thing within the game world.

And that world is massive. While fast-travelling is an option, this place has been created to be explored on foot, either solo or with a trusty companion (although the dog, for example, becomes more of an annoyance before long, so companions are only suggested for the most patient of players). It is a world that is full of surprises and oddity that you’ll never find if you bounce between fast-travel points, and this convenient method of traversing the map is only suggested for completing tedious tasks, like hauling junk back to your base of operations. There are amazing uncharted places and experiences here, and missing out on them would be a crime. Besides, walking is good for you.

None of it ever really seems overwhelming, either. Junk is automatically stripped down to needed parts by settlement workshops, for example. Traders are relatively plentiful (although you won’t find them fast travelling) and can even be set up in your settlements. The skill tree is simple yet expansive, but the lack of level cap means that you’ll more than likely never have to worry about getting to any particular ability at the expense of others. Combat can be daunting at times, but the game gets you feeling like a bad-ass pretty quickly, complete with customisable power armour and a massive arsenal of weapons that you can trim to suit your play style. It feels like the developers made a world for you to live in, on your own terms, rather than giving you a controlled experience. In truth, the only thing that is really overwhelming in Fallout 4 is the sheer scope of what you can do with it… and that’s a good kind of intimidation.

So, yes, the graphics may not be the best we’ve ever seen. The world may have bugs that aren’t mutated mosquitoes, flies and roaches. The companion AI does leave a lot to be desired. But the truth is that these things can be avoided or, at worst, ignored. And when everything is put together, all of these issues, whether in isolation or combined, do very little to hamper an excellent gaming experience. You may find yourself getting annoyed, even to a high degree, at times, but you will keep coming back. Like with Skyrim, Bethesda have managed to create an experience that is so wonderfully immersive with Fallout 4 that you’ll constantly keep coming back to it, bugs and all. It’s single-player only, which may make some people wonder about the longevity of the game, but with the amount that it offers to do, you’ll probably still be playing it long after you’ve set aside the latest cut-and-paste multiplayer FPS title. It’s not a massive step forward for the franchise, but it doesn’t need to be.