Wednesday, November 26, 2014
Tuesday, November 25, 2014
Scholar of the First Sin is basically Dark Souls II's "Game of the Year" edition - containing all of the Lost Crowns DLC, with new NPCs, new enemies and game balancing - and it's coming to PS4 and XO, along with previous-gen consoles.
Is Dark Souls II worth buying again?
You bet your ass.
Is Dark Souls II worth buying again?
You bet your ass.
Monday, November 24, 2014
I wonder if those super-dramatic camera angles mid-combat are actually gameplay? Y'never know with this crazy new gen - but my money's on no.
Saturday, November 22, 2014
Friday, November 21, 2014
Oh. My. Goodness. What is this?
It's like a 2D pixel-art Dark Souls.
Ohmigosh there's a gameplay vid!
It has a stamina bar! (!!!)
Ohmygoodness there's a write-up over at Rock, Paper, Shotgun.
Here's what the devs say:
""Eitr" is from Norse mythology, it is a black poison substance that corrupts whoever or whatever it comes into contact with. The story of the game is based around the world tree, Yggdrasil, the connector of the 9 Norse worlds, which becomes poisoned with Eitr, spewing darkness into each world.
The Game, Eitr, is an Action RPG which takes inspiration from games such as Dark Souls, Path of Exile and the Diablo series. The game will be challenging and require timing and precision to progress through the environments. Players will need to use a combination of blocking, combos, buffs and positioning to succeed in battle."
Now here's the part that really gets me excited. Devolver may be publishing it.
The love for / frustration with @EitrTheGame in the Devolver Digital office is palpable. pic.twitter.com/Skvloddgc9
— Devolver Digital (@devolverdigital) November 21, 2014
And you know how friendly Devolver are with Sony, right? Well...
Had a great day at SCEE today! ;) #Eitr #PlayStation #gamedev
— Eitr (@EitrTheGame) November 18, 2014
What. The. Yes.
Fingers crossed for Vita.
Thursday, November 20, 2014
Coming to PS4, 2D action game, indie studio from Korea, here are screens.
Seriously. Embiggen these - it looks incredible. The only info so far is from this Facebook page. It lists blackwitchcraft.net as the game's website, but that doesn't lead to anything.
Oh well. You're on my radar, you gorgeous 2D romp, you.
Screens and art! (Giant screens and art - click to embiggen.)
PlayStation Blog post!
"Hello, PlayStation fans. I am excited to be able to share some brand new details for Bloodborne, our PS4-exclusive collaboration between Sony Japan Studio and From Software. We’ll have much more to share in a few weeks, but in the meantime here’s a sneak peek at some of the beautiful and nightmarish stages, enemies and weapons you’ll get to see in the game, straight from the dark and twisted imaginations of the masterful team at From Software.
We revealed a number of new areas of the game back at Tokyo Game Show, including the forbidden forest and an old, abandoned part of Yharnam. You may also remember the Hemwick graveyard we we first revealed at Gamescom, located on the outskirts of Yharnam.
Despite the warm coloured sky and beautiful clouds, this graveyard is home to some very twisted residents, like the deformed gravekeeper hags with their horrifying shrieks and long reach attacks. When you make your way through the depths of the Hemwick graveyard, you’ll come upon an old manor inhabited by a powerful eyeball-collecting old witch, among other things. You may want to bring a fellow player or two along when you’re ready to meet her face to face.
Also at TGS, we already revealed Gascoigne, a stylishly dressed priest who also wields a giant axe and does double duty as a Hunter in Yharnam, as well as a mysterious hunter with twin blades and a cape of bird feathers. Now I would like to introduce Gyula, an old veteran hunter who is said to possess amazing skill. No one has seen him in many years, since he ventured into the old part of Yharnam, deserted and burned to the ground after the plague of the beast took its toll there long ago. You just may run into Gyula when you venture into the old part of the city.
Another place you’ll travel to in your quest to find the truth in Bloodborne is the Cainhurst castle. Seemingly abandoned and frozen over, the noble family that once lived here disappeared without a trace. Its grand stature is visible from afar even through the thick fog of the lake, but getting here won’t be easy. What happened to the family that ruled this castle for many generations? What secrets, and what dangers, await you here?
Moving away from a fantasy medieval setting into a slightly more modern gothic and fearful setting has allowed the team at FromSoftware to bring a whole new vision to life on the PS4, not only in terms of stage design and the kinds of enemies you’ll face, but also the kinds of weapons you’ll have at your disposal to deal with these nightmarish creatures.
From shotguns, transforming saw blades, and axes, to nimble twin blades and even a steel sword that becomes the hilt of a massive block hammer, there’s a wide selection to find and choose from. Each weapon offers players a unique play style and strategy to leverage Bloodborne’s more pro-active combat style, light/heavy and short/long range combo system, and Regain System for earning back health during intense combat.
Here’s one more weapon you’ll be able to wield: the transforming cane. In its standard form, it’s a melee weapon for short range attacks. Like many of the other weapons in Bloodborne, however, this weapon can also transform into a deadly heavy or long range weapon as well, making it a devastating bladed whip.
Last but not least, I have one more exclusive screenshot to share that’s a teaser for things to come. Deep under the city of Yharnam lies an expansive network of multi-levelled ruins, seemingly much older than Yharnam itself and crafted by something other than human hands. What’s more, these ruins appear differently to each hunter brave enough to enter. We’re all very excited to talk more about what that means in just a few weeks.
What’s more, these ruins appear differently to each hunter brave enough to enter. We’re all very excited to talk more what that means at PlayStation Experience on December 6th and 7th. We hope you can join us for a live presentation at the keynote as well as our in-depth panel presentation at the show in just a few weeks."
-Masaaki Yamagiwa, Producer, Sony Computer Entertainment Japan Studio-
Wednesday, November 19, 2014
Like me, you've no doubt been wondering where the heck Mercenary Kings' Vita version disappeared to. I enjoyed the game on PS4, but knew where I really needed to find it was on my Vita, so I set it aside, folded my hands and patiently waited for its handheld release.
Months passed. I followed the developers, Tribute Games, on Twitter in the hopes of hearing some news - and bugging them occasionally about its absence from my Vita - and today, finally, they talked about it in their podcast. Towards the end, they begin answering community questions, and here's what they have to say about the game's Vita version:
"We get that pretty much daily. I think we're kinda' stuck on a technical side, and hopefully we'll figure out a way to get around our issues in the coming month and we'll be able to announce something probably early next year or something. I don't think it would be announced or come this year. Probably some time in the next year.Elsewhere, I'm enjoying the crap out of Far Cry 4 - it's wonderful in all the ways 3 was wonderful, with a few pleasant features added. Going back to 3, now, would (sort of) be like going back and playing Metal Gear Solid after playing 2 - you'd seriously miss all the nice little mechanics they've added, here.
Running C# (C sharp) code on Vita is just a big pain in the butt. We're going to have a solution."
Plus, it's in Tibet, and I've always had a soft spot for the whole Buddhism thing.
In other news,
Adventure Time: Secret of the Nameless Kingdom doesn't suck, so far. I played the first ten minutes last night, and another half-hour today on my lunch break, and it does - thus far - scratch that Zelda itch. It's really not bad!
And now, more Far Cry.
Monday, November 17, 2014
Assassin's Creed Unity is not a bad game, even by Assassin's Creed standards. It's not as abjectly tedious as the first title, or as rife with inconsiderate design as III - but it's also not one of the good ones. This isn't II or Brotherhood or IV, which did fantastic things with the worlds they swept you through as they evolved the franchise's grew-old-four-games-ago formula. And so, Unity is not bad. It's just very, very stale.
In the same way that Revelations didn't really need to happen, and was a tired, bland affair for the trouble, Unity feels like a re-hash and a re-tread down alleys and across rooftops we've travelled a thousand times before. It strips the series of what made IV so damned special - the open-sea privateering - and attempts to make a case for the franchise's now-classic exclusively-urban mechanics to be the main and only attraction.
That could have been fine. In fact, it could have been brilliant. With Unity, the first title in the series on the eighth generation of console platforms, Ubisoft had the opportunity (and, I'd suggest, the obligation) to provide the series with a great leap forward in the same way II did, back in 2009. They did not.
Unity's "next-gen" advancements are purely superficial. Look at how many people are in this crowd, 200 feet below our hooded hero.
That's awesome. The game looks amazing, and is a bit boggling when you stroll through some opulent palace rooms in an early scene, where the details are razor-sharp and the gold filigree glistens with the flicker of candlelight. Once again, Paris cannot hold a candle to the atmospheric beauty of Brotherhood's Rome, but Unity's absolutely gorgeous, as a general rule (when it's not rendering hair).
A bit like III, though, there are some design hiccups that will leave you questioning just what the heck Ubisoft were thinking. Why, I wonder, in a mid-game mission to infiltrate a great mansion am I presented with locks to pick that I cannot pick until I unlock a skill three chapters later? Simple locktease seems too generous a concept to apply, here, as the amount of collectibles and side-missions the game offers are more than a bit staggering - having the game put one right in my face that I can't touch feels downright rude.
Similarly, you'll come across chests that you cannot open until you sign up for some sort of side-thing Ubisoft wants you to sign up for, but that's fine, takes two seconds, and now I can open tan-colored chests. What's this? A chest on my minimap that's blue?
...and Ubisoft wants me to download a thing to my phone to play a companion-app game in order to play the actual game I want to be playing. Well, no, Ubisoft. Screw that.
Little, iffy design choices like that would be meaningless if the game offered something meaningfully different - something meaningfully "new-gen" compared to what the series has done before, but it doesn't. Not by a very long shot. Animations have been a bit re-tooled, and they're lovely, but lovelier animations haven't resulted in a game that manages to be as involving and expressive as Ezio Auditore was back in 16th century Italy.
Your hero-Assassin will still get snagged on world geometry, he'll still hop up on a fence post mid-chase and refuse to get off it. Try pressing "freerun" and "up" or "freerun" and "down" and he'll just chill there as the barge you're pursuing drifts calmly away.
"Can't catch me," the barge says coyly. After seven games you still can't reliably and consistently put your faith in the platforming mechanics of this platforming game.
That's unacceptable, Ubisoft.
Similarly, sometimes the combat will work perfectly - cancelling attacks into parries, and wiping the floor with a dozen Templar thugs - but I've also re-tried missions a half-dozen times because, suddenly, my hero will completely refuse to react to the commands I've fired into my dualshock. When the game robs you of your victories, it feels doubly egregious, here, because this - this often-frustrating but mostly-okay gameplay - should be bloody well fixed, by now.
It should be bloody well fixed, here. With this game. Well, no, it should have been fixed at III, but the fact that this was Ubisoft's opportunity to move the franchise meaningfully forward - to provide an experience that perhaps actually matched up with the feeling, speed and agency they showed us in the first trailer for the first Assassin's Creed - and they didn't feels a bit insulting. You'll climb buildings and alleys here with the exact same geometry you saw in 2007.
They gave us the same game that has remained unchanged and slightly broken for the past decade, again.
|The citizens of Paris are very impressive - there's an incredible variety of them, |
and I've seen so many performing unique actions it's kind of boggling.
Assassin's Creed Unity is not a bad game, but I'm having trouble finding something good to say about it. If Assassin's Creed never grew stale, for you, if you loved III and Revelations, you may well love Unity.
It's the exact same game. Without the ship, I mean, and with sharper graphics, cooler animations and some gold filigree. After everything the series has done before, though, it may leave you longing for the plazas of Rome, or the deck of the Jackdaw.