Jack Gardner

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  1. Mass Effect has been a series dear to my heart since I played the first entry almost a decade ago. That original trilogy captivated a generation of players with a science-fiction universe into which BioWare wove a spellbinding tale of heroism that sought to answer some of the very fundamental questions of human existence. The trilogy ended on a note that left an entire Milky Way galaxy irrevocably changed – the kind of ending upon with it is difficult, if not impossible, to continue. To that circumvent that finality, Mass Effect: Andromeda sends players on a mission to colonize a completely different galaxy. Having left years before the conclusion of Mass Effect 3, several arks house the primary sentient species that inhabited the Milky Way. Those familiar races, the humans, asari, turians, salarians, and krogan, spent six hundred years in stasis pods to reach the Andromeda galaxy. This journey promised a fresh start for those who embarked upon it. The Initiative, the organization behind the resettlement, launched the Nexus, a gigantic space station that would serve as a new galactic hub, around the same time as the ark ships. Several “golden worlds” had been identified, prime targets for habitation for the various settling species. Everything was planned to the letter. Except very few things ever go according to plan. Really, that above sentence could apply broadly to Mass Effect: Andromeda, not just the story. No doubt most people reading this review will be familiar with the facial animation issues in Andromeda. While those animation woes are by no means small, the extreme focus on them has eclipsed a lot of the discussion regarding the more interesting problems that plague Mass Effect: Andromeda. When I think back on my time with BioWare’s latest attempt as a space epic, I remember all the time I spent on sprawling planets that initially held a certain thrill of discovery. I was an explorer! These were planets in a new and unknown galaxy! Who knows what kinds of crazy lifeforms or interesting encounters might be around any given turn of the terrain? Heck, BioWare even resurrected a planet roving vehicle and improved its handling to hark back to the original Mass Effect and its Mako tank. As I delved deeper and deeper into Andromeda, the game begin to feel routine. Why? Part of what contributed to the mundane atmosphere that pervades Mass Effect: Andromeda can be traced to the waste of its own fundamental premise. Players were on an adventure to an entirely unknown galaxy, a situation prime for introducing truly alien encounters. Instead of expanding the Mass Effect universe in interesting ways, players simply find more of the same stuff. BioWare took a creative approach to write themselves out of the corner they had created with Mass Effect 3, but chose to ignore many of the interesting elements that their solution would entail in order to bring everything back to some arbitrary status quo. Instead of encountering novel beings that would arise from a galaxy free from the cycle of destruction within the Milky Way, the two new sentient races encountered in Andromeda are humanoid with immediately relatable wants and desires. The main quirk of the angaran? They are more communal and open with their emotions. The main quirk of the kett? They have a rigid theocratic hierarchy based around genetics. We’re in a new galaxy in a rich sci-fi universe where the creatures we encounter could be anything: sentient energy crystals, renegade swarms of nanites that have achieved a hivemind, mouse-sized silicon creatures whose ways are completely incomprehensible. Literally anything could exist in a galaxy so far removed from any kind of interaction with the galaxy BioWare crafted in the first three games. Those interesting possibilities are shoved aside in favor of more familiar and “relatable” allies and villains. In fact, this desire to return to the pre-Mass Effect 3 status quo in a new galaxy even extends to some of the most thought provoking questions of encountering alien species. The most important part of first contact involves figuring out how to communicate. Entire films have been based around that premise *cough* Arrival *cough*. Even Star Trek: The Next Generation took an hour for Picard to figure out how a new alien species communicated. You could take it for granted in the trilogy that humans had figured out communications with the aliens of Citadel space decades previously, so it wasn’t an issue. Mass Effect: Andromeda spends not even five minutes on that subject with either of its new additions to their galactic cast of character species. Not only that, but the entire sense of scale, the stakes, and the urgency at play is skewed. If things go wrong with the ark ships, the entire initiative could fail. Even ground-level, no-name NPCs don’t seem too concerned, despite their desperate circumstances that present a threat to their survival. In one side mission, Ryder encounters two human pot heads living in the middle of nowhere on a planet where the water is so toxic it is literally on fire. The duo should be in the perfect position to know how monumentally screwed the Initiative’s future is, but they simply don’t care – an attitude reflected in how most NPCs react to deadly danger in Andromeda. Here’s an example: One of the primary locations in Mass Effect: Andromeda is an ice planet called Voeld. It’s one of the worlds controlled by the angara, but the player is told that it has become the front line in the war against the kett. When players land and begin exploring Voeld, the planet presents absolutely no evidence of any kind of protracted war. There are some scattered bases, some ships overhead on occasion, but nothing resembling an ongoing war. Heck, there aren’t even any craters to be seen. We know from Mass Effect 3 what a war in Mass Effect’s universe looks like. Palavin was a colossal battleground between the Reapers and the turians. Soldiers were breathless, tired from combat and wiped out emotionally. They did everything and anything they could to hold the line against an overwhelming adversary. Voeld has none of that. They even have entire towns – one of which has a hotel. They have scientists traipsing around researching animals beneath the ice or old ruins. The kett, supposedly an existential threat to the angaran people, seem at worst a nuisance. Very few characters act appropriately to the situations in which they find themselves. Most almost always go for a glib one-liner on par with Batman Forever’s Mr. Freeze, “Ice to meet you.” Arrived at what should be the sparkling hub of your new civilization only to find that it seems partially derelict? Time for a quip! Wandering in the belly of a completely unknown alien civilization’s living ruin? Time to just randomly activate things because you think you know what they do! Side note: Just once I want to see Ryder or their allies activate one of these alien devices only to find out it starts a giant alien weapon made to warp the planet into a star or some nonsense. They literally have no idea what these devices do, just their best guess and a human created AI that also is just making educated guesses. Then we get to the actual exploration, supposedly the core of Mass Effect: Andromeda. Very little exploration goes on. There are several huge maps covered with constantly respawning camps of enemies that stand between players and objective markers. The missions encountered in the wild rarely become anything more complicated than a fetch quest to get a thing from some bad guys. Sometimes pleasant surprises lurk at the end of seemingly boring quests, like gigantic robot boss battles, but often these grunt work tasks reward the player with habitability points. These points act as a kind of gating mechanism for upgrades, similar to the points used on the world map in Dragon Age: Inquisition. Outside of that, they don’t feel that impactful or important. Even raising planet habitability to 100% feels pointless. The settlements remain the same, some marginal rewards increase, but other than that there never felt like a compelling reason for anyone to bother unless they are a completionist. I’d like to contrast this approach with the original Mass Effect. While the first Mass Effect game certainly had problems, there was genuinely a sense of adventure. Every planet scanned might lead to something unique, like an ancient alien ruin or a collective of terrorists or rogue scientists whose experiment has gone awry. These sequences also had large, open maps that were filled with a lot of nothing and filler enemies, but enough was done to the planets to make them feel distinct and many of the encounters, though reusing assets, were written well enough to be interesting and involved player choice. None of that random exploration is present in Andromeda. I scanned every planet and found not a single unique situation or hidden adventure, only resources for crafting. That crafting system that BioWare touted in the lead up to Andromeda’s release? Unfortunately, it rarely feels impactful. I used weapons I picked up and they worked fine. I crafted weapons a handful of times and they also worked fine in slightly different ways. Most of the time the only things I was excited to craft for Ryder were improvements to the roving tank to improve its speed or boosters. For the most part, Andromeda’s supporting cast manage to provide endearing personalities. Drack as a krogan grandpa and Vetra’s lady-turian smuggler were fun additions to the crew, but on there aren’t any Garrus Vakarians or Tali’Zorah vas Normandys to really latch onto as standout characters. That’s something BioWare could build toward over time with sequels, but I didn’t feel any particularly strong connections with most of the characters in this first outing. The disconnect between the player and various characters in Andromeda largely boils down to the amount of inconsequential fluff that pads out Andromeda. There’s so much busywork with so little pay-off that players lose track of what makes the cast fun or special. There was a 15+ hour long period in my playtime where I was just bored with what I was doing. Oh no, a scientist put her thesis on a hard drive that was stolen by bandits. Time to drive to the middle of nowhere to kill them and get it back (and the solution is almost always kill some ambiguous “them”). Missions like this exist in abundance throughout Andromeda – little to no interesting character interactions, just straightforward affairs that have players going around the same big environments. When the worlds open up, players naturally invest themselves in the various activities thinking that there might be an interesting moment or pay off to any of it… but there isn’t. Instead, players start to forget what they’re even supposed to be doing or care about. The narrative loses its propulsion. Trudging through the motions of establishing colonies and checking off the soon routine alien ruins spread across planets while dealing with disgruntled colonists- it all becomes work. All of this should be fun – we’re using cutting-edge technology to forge a new home on planets full of alien technology and life forms we have never seen before. The first beat of life after the exciting introductory sequence occurred over a dozen hours later when I was able to take on companion missions. It felt like things were happening! I got to see characters interacting with each other! Some well-written scenarios that made me laugh or excited! Liam’s side mission in particular felt like such a welcome breath of fresh air it almost seemed like it was from a different game. When Andromeda leans into those more linear segments and allows its characters to be themselves with Ryder or other companions, it really shines. Remember the action button prompts that would frequently pop up in Mass Effect 2 and 3? The ones that allowed extreme actions to be taken during dialogue sequences? Those are so rare that I could count with one hand the number I saw in a full playthrough. It got to the point that I just pressed it excitedly when it popped up without really knowing what was going to happen and at least on one occasion that resulted in a character’s death. While ditching the Paragon and Renegade system of years past seemed like a necessary update, it also eliminated the short hand players could use to predict what kind of an outcome pressing the action prompt might have in Andromeda. Combat stands out as the most solid aspect of Mass Effect: Andromeda. This is the smoothest and most action-filled BioWare game to date and it just feels good to take down enemies. On top of that, the new jump and boost mechanics give combat a whole new degree of mobility that it never had before. It feels free and fluid, providing players with more options in a fight than ever before. The responsive gunplay and interesting abilities really come to the forefront, making it easy to sink a lot of time into the less interesting parts of the game just to discover the perfect combination of abilities. The smooth combat translates into an enjoyable multiplayer experience who enjoy the gameplay on its own. Players accomplish a variety of objectives around various maps before escaping in shuttle craft. Succeeding in these missions allows players to level their multiplayer character and unlock new weapons and abilities for that character. Some rewards also carry over into the single-player campaign. It's a solid experience, but I'm not entirely sure how much longevity it has for players who have had their fill of fighting from the core game. Unfortunately, the combat stumbles when it comes to progression in Mass Effect: Andromeda's campaign. Players begin by choosing specialties, but can decide to respec their ability points at any time from their ship or simply use points from new levels to unlock abilities outside of their beginning specialties. Only a handful of those abilities are gated to certain levels, meaning that most abilities are available from the start. This all sounds great, but the problem comes in when players discover their preferred play style and abilities. When that happens, the motivation to experiment comes to an end. Upgrading those abilities simply makes them more effective, but doesn’t change the player’s approach to gameplay. This leads to gameplay becoming stale toward the end of a prolonged playthrough, which is hardly ideal. All of this doesn’t even touch on the various glitches that can plague Mass Effect: Andromeda. These manifest in a number of ways. Sometimes the game randomly crashes. Other times NPCs duplicate themselves. This can happen during conversations and can be really jarring. Sometimes NPCs get stuck in world objects. Notably, a random NPC on the Nexus space station would stand still on a stage staring straight ahead. She unnervingly persisted throughout my entire playthrough. Enemies in the respawning zones around the various worlds sometimes just float in the air. Sometimes characters simply disappear from cutscenes or fuse with other characters to create horrifying chimeras. Note: A recent patch weeks after release managed to fix the bizarrely dead and distracting eyes that often appeared to be locked into a look of fear or surprise. That patch doesn’t fix some of the other issues most of the faces in Andromeda seem to have with emoting, though. Some characters have certain resting faces that make them look like they are perpetually smiling, regardless of the situation. This issue is particularly noticeable with certain versions of female Ryder or her ally Cora. Also, and this is really not important, but female angaran character models look like they weren’t finished. Compare them to male angaran faces and they seem to lack a lot of detail or defining features. Conclusion: Mass Effect: Andromeda has the potential to be built into something great, but that potential is buried under a pile of issues that range from structural to technical. These problems range in scale from insignificant to huge. That this game launched without a fix for something as basic as the patch that fixed how eyes looked is incredible. Combat manages to top that of its predecessors, but becomes mired when it comes to progression. The visual presentation of the various planets at times reaches awe-inspiring heights, but gets brought low by the facial animations and persistent glitches. The potential of a new galaxy stretches out for players to explore and define, but that promise gets squandered in a number of disappointing ways. All of that being said, Mass Effect: Andromeda succeeds in laying a foundation on which sequels could successfully build. This outing might not live up to the series’ roots, but the possibility remains open for the entries that are sure to come. Mass Effect: Andromeda is now available for PlayStation 4, Xbox One, and PC View full article
  2. Mass Effect has been a series dear to my heart since I played the first entry almost a decade ago. That original trilogy captivated a generation of players with a science-fiction universe into which BioWare wove a spellbinding tale of heroism that sought to answer some of the very fundamental questions of human existence. The trilogy ended on a note that left an entire Milky Way galaxy irrevocably changed – the kind of ending upon with it is difficult, if not impossible, to continue. To that circumvent that finality, Mass Effect: Andromeda sends players on a mission to colonize a completely different galaxy. Having left years before the conclusion of Mass Effect 3, several arks house the primary sentient species that inhabited the Milky Way. Those familiar races, the humans, asari, turians, salarians, and krogan, spent six hundred years in stasis pods to reach the Andromeda galaxy. This journey promised a fresh start for those who embarked upon it. The Initiative, the organization behind the resettlement, launched the Nexus, a gigantic space station that would serve as a new galactic hub, around the same time as the ark ships. Several “golden worlds” had been identified, prime targets for habitation for the various settling species. Everything was planned to the letter. Except very few things ever go according to plan. Really, that above sentence could apply broadly to Mass Effect: Andromeda, not just the story. No doubt most people reading this review will be familiar with the facial animation issues in Andromeda. While those animation woes are by no means small, the extreme focus on them has eclipsed a lot of the discussion regarding the more interesting problems that plague Mass Effect: Andromeda. When I think back on my time with BioWare’s latest attempt as a space epic, I remember all the time I spent on sprawling planets that initially held a certain thrill of discovery. I was an explorer! These were planets in a new and unknown galaxy! Who knows what kinds of crazy lifeforms or interesting encounters might be around any given turn of the terrain? Heck, BioWare even resurrected a planet roving vehicle and improved its handling to hark back to the original Mass Effect and its Mako tank. As I delved deeper and deeper into Andromeda, the game begin to feel routine. Why? Part of what contributed to the mundane atmosphere that pervades Mass Effect: Andromeda can be traced to the waste of its own fundamental premise. Players were on an adventure to an entirely unknown galaxy, a situation prime for introducing truly alien encounters. Instead of expanding the Mass Effect universe in interesting ways, players simply find more of the same stuff. BioWare took a creative approach to write themselves out of the corner they had created with Mass Effect 3, but chose to ignore many of the interesting elements that their solution would entail in order to bring everything back to some arbitrary status quo. Instead of encountering novel beings that would arise from a galaxy free from the cycle of destruction within the Milky Way, the two new sentient races encountered in Andromeda are humanoid with immediately relatable wants and desires. The main quirk of the angaran? They are more communal and open with their emotions. The main quirk of the kett? They have a rigid theocratic hierarchy based around genetics. We’re in a new galaxy in a rich sci-fi universe where the creatures we encounter could be anything: sentient energy crystals, renegade swarms of nanites that have achieved a hivemind, mouse-sized silicon creatures whose ways are completely incomprehensible. Literally anything could exist in a galaxy so far removed from any kind of interaction with the galaxy BioWare crafted in the first three games. Those interesting possibilities are shoved aside in favor of more familiar and “relatable” allies and villains. In fact, this desire to return to the pre-Mass Effect 3 status quo in a new galaxy even extends to some of the most thought provoking questions of encountering alien species. The most important part of first contact involves figuring out how to communicate. Entire films have been based around that premise *cough* Arrival *cough*. Even Star Trek: The Next Generation took an hour for Picard to figure out how a new alien species communicated. You could take it for granted in the trilogy that humans had figured out communications with the aliens of Citadel space decades previously, so it wasn’t an issue. Mass Effect: Andromeda spends not even five minutes on that subject with either of its new additions to their galactic cast of character species. Not only that, but the entire sense of scale, the stakes, and the urgency at play is skewed. If things go wrong with the ark ships, the entire initiative could fail. Even ground-level, no-name NPCs don’t seem too concerned, despite their desperate circumstances that present a threat to their survival. In one side mission, Ryder encounters two human pot heads living in the middle of nowhere on a planet where the water is so toxic it is literally on fire. The duo should be in the perfect position to know how monumentally screwed the Initiative’s future is, but they simply don’t care – an attitude reflected in how most NPCs react to deadly danger in Andromeda. Here’s an example: One of the primary locations in Mass Effect: Andromeda is an ice planet called Voeld. It’s one of the worlds controlled by the angara, but the player is told that it has become the front line in the war against the kett. When players land and begin exploring Voeld, the planet presents absolutely no evidence of any kind of protracted war. There are some scattered bases, some ships overhead on occasion, but nothing resembling an ongoing war. Heck, there aren’t even any craters to be seen. We know from Mass Effect 3 what a war in Mass Effect’s universe looks like. Palavin was a colossal battleground between the Reapers and the turians. Soldiers were breathless, tired from combat and wiped out emotionally. They did everything and anything they could to hold the line against an overwhelming adversary. Voeld has none of that. They even have entire towns – one of which has a hotel. They have scientists traipsing around researching animals beneath the ice or old ruins. The kett, supposedly an existential threat to the angaran people, seem at worst a nuisance. Very few characters act appropriately to the situations in which they find themselves. Most almost always go for a glib one-liner on par with Batman Forever’s Mr. Freeze, “Ice to meet you.” Arrived at what should be the sparkling hub of your new civilization only to find that it seems partially derelict? Time for a quip! Wandering in the belly of a completely unknown alien civilization’s living ruin? Time to just randomly activate things because you think you know what they do! Side note: Just once I want to see Ryder or their allies activate one of these alien devices only to find out it starts a giant alien weapon made to warp the planet into a star or some nonsense. They literally have no idea what these devices do, just their best guess and a human created AI that also is just making educated guesses. Then we get to the actual exploration, supposedly the core of Mass Effect: Andromeda. Very little exploration goes on. There are several huge maps covered with constantly respawning camps of enemies that stand between players and objective markers. The missions encountered in the wild rarely become anything more complicated than a fetch quest to get a thing from some bad guys. Sometimes pleasant surprises lurk at the end of seemingly boring quests, like gigantic robot boss battles, but often these grunt work tasks reward the player with habitability points. These points act as a kind of gating mechanism for upgrades, similar to the points used on the world map in Dragon Age: Inquisition. Outside of that, they don’t feel that impactful or important. Even raising planet habitability to 100% feels pointless. The settlements remain the same, some marginal rewards increase, but other than that there never felt like a compelling reason for anyone to bother unless they are a completionist. I’d like to contrast this approach with the original Mass Effect. While the first Mass Effect game certainly had problems, there was genuinely a sense of adventure. Every planet scanned might lead to something unique, like an ancient alien ruin or a collective of terrorists or rogue scientists whose experiment has gone awry. These sequences also had large, open maps that were filled with a lot of nothing and filler enemies, but enough was done to the planets to make them feel distinct and many of the encounters, though reusing assets, were written well enough to be interesting and involved player choice. None of that random exploration is present in Andromeda. I scanned every planet and found not a single unique situation or hidden adventure, only resources for crafting. That crafting system that BioWare touted in the lead up to Andromeda’s release? Unfortunately, it rarely feels impactful. I used weapons I picked up and they worked fine. I crafted weapons a handful of times and they also worked fine in slightly different ways. Most of the time the only things I was excited to craft for Ryder were improvements to the roving tank to improve its speed or boosters. For the most part, Andromeda’s supporting cast manage to provide endearing personalities. Drack as a krogan grandpa and Vetra’s lady-turian smuggler were fun additions to the crew, but on there aren’t any Garrus Vakarians or Tali’Zorah vas Normandys to really latch onto as standout characters. That’s something BioWare could build toward over time with sequels, but I didn’t feel any particularly strong connections with most of the characters in this first outing. The disconnect between the player and various characters in Andromeda largely boils down to the amount of inconsequential fluff that pads out Andromeda. There’s so much busywork with so little pay-off that players lose track of what makes the cast fun or special. There was a 15+ hour long period in my playtime where I was just bored with what I was doing. Oh no, a scientist put her thesis on a hard drive that was stolen by bandits. Time to drive to the middle of nowhere to kill them and get it back (and the solution is almost always kill some ambiguous “them”). Missions like this exist in abundance throughout Andromeda – little to no interesting character interactions, just straightforward affairs that have players going around the same big environments. When the worlds open up, players naturally invest themselves in the various activities thinking that there might be an interesting moment or pay off to any of it… but there isn’t. Instead, players start to forget what they’re even supposed to be doing or care about. The narrative loses its propulsion. Trudging through the motions of establishing colonies and checking off the soon routine alien ruins spread across planets while dealing with disgruntled colonists- it all becomes work. All of this should be fun – we’re using cutting-edge technology to forge a new home on planets full of alien technology and life forms we have never seen before. The first beat of life after the exciting introductory sequence occurred over a dozen hours later when I was able to take on companion missions. It felt like things were happening! I got to see characters interacting with each other! Some well-written scenarios that made me laugh or excited! Liam’s side mission in particular felt like such a welcome breath of fresh air it almost seemed like it was from a different game. When Andromeda leans into those more linear segments and allows its characters to be themselves with Ryder or other companions, it really shines. Remember the action button prompts that would frequently pop up in Mass Effect 2 and 3? The ones that allowed extreme actions to be taken during dialogue sequences? Those are so rare that I could count with one hand the number I saw in a full playthrough. It got to the point that I just pressed it excitedly when it popped up without really knowing what was going to happen and at least on one occasion that resulted in a character’s death. While ditching the Paragon and Renegade system of years past seemed like a necessary update, it also eliminated the short hand players could use to predict what kind of an outcome pressing the action prompt might have in Andromeda. Combat stands out as the most solid aspect of Mass Effect: Andromeda. This is the smoothest and most action-filled BioWare game to date and it just feels good to take down enemies. On top of that, the new jump and boost mechanics give combat a whole new degree of mobility that it never had before. It feels free and fluid, providing players with more options in a fight than ever before. The responsive gunplay and interesting abilities really come to the forefront, making it easy to sink a lot of time into the less interesting parts of the game just to discover the perfect combination of abilities. The smooth combat translates into an enjoyable multiplayer experience who enjoy the gameplay on its own. Players accomplish a variety of objectives around various maps before escaping in shuttle craft. Succeeding in these missions allows players to level their multiplayer character and unlock new weapons and abilities for that character. Some rewards also carry over into the single-player campaign. It's a solid experience, but I'm not entirely sure how much longevity it has for players who have had their fill of fighting from the core game. Unfortunately, the combat stumbles when it comes to progression in Mass Effect: Andromeda's campaign. Players begin by choosing specialties, but can decide to respec their ability points at any time from their ship or simply use points from new levels to unlock abilities outside of their beginning specialties. Only a handful of those abilities are gated to certain levels, meaning that most abilities are available from the start. This all sounds great, but the problem comes in when players discover their preferred play style and abilities. When that happens, the motivation to experiment comes to an end. Upgrading those abilities simply makes them more effective, but doesn’t change the player’s approach to gameplay. This leads to gameplay becoming stale toward the end of a prolonged playthrough, which is hardly ideal. All of this doesn’t even touch on the various glitches that can plague Mass Effect: Andromeda. These manifest in a number of ways. Sometimes the game randomly crashes. Other times NPCs duplicate themselves. This can happen during conversations and can be really jarring. Sometimes NPCs get stuck in world objects. Notably, a random NPC on the Nexus space station would stand still on a stage staring straight ahead. She unnervingly persisted throughout my entire playthrough. Enemies in the respawning zones around the various worlds sometimes just float in the air. Sometimes characters simply disappear from cutscenes or fuse with other characters to create horrifying chimeras. Note: A recent patch weeks after release managed to fix the bizarrely dead and distracting eyes that often appeared to be locked into a look of fear or surprise. That patch doesn’t fix some of the other issues most of the faces in Andromeda seem to have with emoting, though. Some characters have certain resting faces that make them look like they are perpetually smiling, regardless of the situation. This issue is particularly noticeable with certain versions of female Ryder or her ally Cora. Also, and this is really not important, but female angaran character models look like they weren’t finished. Compare them to male angaran faces and they seem to lack a lot of detail or defining features. Conclusion: Mass Effect: Andromeda has the potential to be built into something great, but that potential is buried under a pile of issues that range from structural to technical. These problems range in scale from insignificant to huge. That this game launched without a fix for something as basic as the patch that fixed how eyes looked is incredible. Combat manages to top that of its predecessors, but becomes mired when it comes to progression. The visual presentation of the various planets at times reaches awe-inspiring heights, but gets brought low by the facial animations and persistent glitches. The potential of a new galaxy stretches out for players to explore and define, but that promise gets squandered in a number of disappointing ways. All of that being said, Mass Effect: Andromeda succeeds in laying a foundation on which sequels could successfully build. This outing might not live up to the series’ roots, but the possibility remains open for the entries that are sure to come. Mass Effect: Andromeda is now available for PlayStation 4, Xbox One, and PC
  3. Not a huge fan of the 3D features or price of the New 3DS? Nintendo has got you covered with their latest announcement. In a recent release, Nintendo revealed that the New 2DS XL will be releasing this coming July. The new New 2DS will adopt the hinged design of the 3DS line, but ditch all the 3D features that the core handheld has offered since launch (with the exception of the previous 2DS). This new version of the handheld will be thinner, boast screen sizes on par with its New 3DS counterpart, and offer built-in amiibo support. The faster processing power of the 2DS XL means that it will be able to play older games more smoothly as well as tackling the more graphics intensive games that were exclusive to the New 3DS like Xenoblade Chronicles. Reggie Fils-Aime, Nintendo of America's president and COO, proclaimed that, “this new addition to Nintendo’s portable hardware line demonstrates our commitment to the hand-held market. New Nintendo 2DS XL sports a beautiful clamshell design and offers a great balance between price and performance.” The New 2DS XL will launch on July 28 and retail for $149.99, about $50 cheaper than the current price of the New 3DS XL. If you're someone in the market for a new handheld and don't truck with all that 3D flim-flam because of vision issues or personal preference, a cheaper alternative will soon be available. While the trailer only shows a black/blue unit being sold, the system will also be available in white/orange-yellow. Hey! Pikmin invites players into a 2D, side-scrolling world unlike any Pikmin title before. This new adventure has players guiding Captain Olimar through increasingly difficult levels to collect fuel for his newly crashed spaceship, the S.S. Dolphin 2. "Where are the pikmin?" you might ask. Never fear! Olimar continues to guide Pikmin in his efforts to repair his vessel. Players use the touchscreen to select which of the colorful creatures to hurl at obstacles or monsters. The new title launches the same day as the New 2DS XL, July 28. Incidentally, another game called Miitopia launches the same day. It's a light strategy/RPG game that uses characters you've collected or created for your Mii Plaza, Miitomo app, or Tomodachi Life game to populate a world loosely based on the built-in RPG-lite adventure that comes installed on the 3DS line of systems. View full article
  4. Not a huge fan of the 3D features or price of the New 3DS? Nintendo has got you covered with their latest announcement. In a recent release, Nintendo revealed that the New 2DS XL will be releasing this coming July. The new New 2DS will adopt the hinged design of the 3DS line, but ditch all the 3D features that the core handheld has offered since launch (with the exception of the previous 2DS). This new version of the handheld will be thinner, boast screen sizes on par with its New 3DS counterpart, and offer built-in amiibo support. The faster processing power of the 2DS XL means that it will be able to play older games more smoothly as well as tackling the more graphics intensive games that were exclusive to the New 3DS like Xenoblade Chronicles. Reggie Fils-Aime, Nintendo of America's president and COO, proclaimed that, “this new addition to Nintendo’s portable hardware line demonstrates our commitment to the hand-held market. New Nintendo 2DS XL sports a beautiful clamshell design and offers a great balance between price and performance.” The New 2DS XL will launch on July 28 and retail for $149.99, about $50 cheaper than the current price of the New 3DS XL. If you're someone in the market for a new handheld and don't truck with all that 3D flim-flam because of vision issues or personal preference, a cheaper alternative will soon be available. While the trailer only shows a black/blue unit being sold, the system will also be available in white/orange-yellow. Hey! Pikmin invites players into a 2D, side-scrolling world unlike any Pikmin title before. This new adventure has players guiding Captain Olimar through increasingly difficult levels to collect fuel for his newly crashed spaceship, the S.S. Dolphin 2. "Where are the pikmin?" you might ask. Never fear! Olimar continues to guide Pikmin in his efforts to repair his vessel. Players use the touchscreen to select which of the colorful creatures to hurl at obstacles or monsters. The new title launches the same day as the New 2DS XL, July 28. Incidentally, another game called Miitopia launches the same day. It's a light strategy/RPG game that uses characters you've collected or created for your Mii Plaza, Miitomo app, or Tomodachi Life game to populate a world loosely based on the built-in RPG-lite adventure that comes installed on the 3DS line of systems.
  5. Hawk announced the new PlayStation 4 skateboarding title during Sony's CES keynote speech. As exciting as that announcement might be, there are no additional details about the game, not even a title. We know it will release this year and that it will come to PlayStation 4. There was no word on whether it will be exclusive to PS4, leaving open the possibility that Tony Hawk might make its way to other systems. Heck, we don't even know if it will be a downloadable or physical release. Some speculate that Activision and Sony have cut a marketing deal reminiscent of Destiny's Sony exclusive advertising. Of course, it is a bit too soon to jump to any conclusions with the limited information available. It's enough for now to know that Tony Hawk 2015 exists.
  6. In an unlisted year end YouTube video, the creator of Mega Man says that Comcept has finished the core game of Mighty No. 9 and are now entering the porting and promotional phases of development. In the video, Inafune wishes everyone a happy new year and talks about how hard the team at Comcept has been working to bring Mighty No. 9 to the public. Comcept's initial Kickstarter asked for $900,000 to make the spiritual successor to Mega Man, but the company received over $4 million in crowd funding. Usually receiving several times the amount of money asked for in a Kickstarter campaign results in delays, but Mighty No. 9 looks to be chugging smoothly along toward its spring 2015 release.
  7. The Internet Archive added a staggering 2,388 pieces of video game history to its collection today. It has also launched the beta for its website that will make its contents more accessible and visually appealing. Jason Scott, one of the leaders of the Archive's push toward a more comprehensible website and a proponent of making these old game playable in-browser, explained in a blog post that not all of the MS-DOS games will be stable, but "on the whole, you will experience some analogue of the MS-DOS program, in your browser, instantly." And it is true! Some of the games on the Internet Archive work splendidly in-browser. There is no fiddling trying to get the programs to run on machine that can barely recognize what they are. True, some of them don't work properly, but all of them work enough to give you an idea of how they played; what they looked and sounded like. It is a really impressive feat. I highly recommend you go over and poke around the titles on stored on the Archive just to see what's out there. If you have trouble with the beta site, just switch over to the old version.
  8. Activision wanted Call of Duty to return to its roots and the latest trailer really goes hard into those roots. Revealed during an accompanying hour-long livestream, Call of Duty: WWII brings players back to the battlefields of the European theater of World War II. The trailer begins on the landing boats of Normandy and seems to imply players will be storming the beaches from a first-person perspective when the title releases later this year. Players take on the role of a new recruit to the 1st Infantry Division as they fight their way through Europe against Nazi Germany. While the trailer does class things up with an operatic, punctuating score, there are still enough yelling, shooting, explosions, and punching to remind you that this is going to be a brutal Call of Duty experience. Of the details that have been revealed regarding Call of Duty: WWII's gameplay, perhaps the most unique is the axing of passively regenerating health. In the last decade of Call of Duty titles, recovering health meant taking cover and waiting for a few moments before popping up again, ready to do battle. That's not the case in Call of Duty: WWII. Instead, players will have to rely on their allies to bring them medicine and bandage their wounds on the battlefield. This extends to other needs, too. Out of ammo? Players will have to call out to their squad to bring them more. Need covering fire to make it to the next patch of relative safety? You'll have to shout for your allies to do that. If that sounds custom-made for a co-op experience, fear not! While the single-player campaign has players relying on AI companions, Sledgehammer Games has added a second co-op campaign with its own story so you can harangue your real-life friends to give you health, ammo, and cover. More details on Call of Duty: WWII will be revealed during E3. View full article
  9. Activision wanted Call of Duty to return to its roots and the latest trailer really goes hard into those roots. Revealed during an accompanying hour-long livestream, Call of Duty: WWII brings players back to the battlefields of the European theater of World War II. The trailer begins on the landing boats of Normandy and seems to imply players will be storming the beaches from a first-person perspective when the title releases later this year. Players take on the role of a new recruit to the 1st Infantry Division as they fight their way through Europe against Nazi Germany. While the trailer does class things up with an operatic, punctuating score, there are still enough yelling, shooting, explosions, and punching to remind you that this is going to be a brutal Call of Duty experience. Of the details that have been revealed regarding Call of Duty: WWII's gameplay, perhaps the most unique is the axing of passively regenerating health. In the last decade of Call of Duty titles, recovering health meant taking cover and waiting for a few moments before popping up again, ready to do battle. That's not the case in Call of Duty: WWII. Instead, players will have to rely on their allies to bring them medicine and bandage their wounds on the battlefield. This extends to other needs, too. Out of ammo? Players will have to call out to their squad to bring them more. Need covering fire to make it to the next patch of relative safety? You'll have to shout for your allies to do that. If that sounds custom-made for a co-op experience, fear not! While the single-player campaign has players relying on AI companions, Sledgehammer Games has added a second co-op campaign with its own story so you can harangue your real-life friends to give you health, ammo, and cover. More details on Call of Duty: WWII will be revealed during E3.
  10. With Phoenix Point, the creator of the original X-COM, Julian Gollop, returns to the genre he helped create almost 25 years ago, but this time it has a twist of Lovecraftian horror. The upcoming tactics game takes place in the near future. Global warming has unleashed a horror from beneath the ice: The Pandoravirus. This virus wipes through the world and pushes humanity to the brink of destruction, collapsing society to a handful of havens held together by warlords who fight over the remains of the old world. The Phoenix Project is the last hope to turn the tide, a small group of soldiers and scientists that have assembled to stand against the relentless virus. The Pandoravirus merges DNA and evolves it at a rapid pace, resulting in large numbers of mutated animal-human hybrids. These Lovecraftian horrors roam under clouds of black mist in the areas outside of whatever safe zones humanity has managed to scrape together. They also possess intelligence, acting with goals and motives at which humans can only guess. Some creatures even use weapons and armor they've taken from the world's battlefields. However, the scariest feature of Pandora's children is their inherent ability to evolve to protect themselves from their enemies. As players progress through Phoenix Point, enemies will evolve to best counter the strategies used to defeat their kind previously. Much like XCOM, there will be two aspects to the gameplay: Turn-based tactics and global management. Humans still retain control of the skies, but the Pandoravirus holds dominion over the seas. Humans and horrors clash over who reigns over the land. Having control of areas and being able to scavenge them for supplies will be crucial for funding research into ways to counter the virus and evolve your own equipment. Players will also be able to tackle missions to achieve various objectives, like taking down massive behemoths that roam the continents. These monsters will take coordination, planning, and vehicle support to take down. Failing to defeat them could result in entire cities being wiped off the face of the earth. Unfortunately, not all of Earth is united behind the Phoenix Project. Numerous factions and warlords don't believe humanity can or should be saved. These attitudes sometimes put them at odds with the Phoenix Project's goals of stopping the Pandoravirus. While some might join the cause, others will not and their resources or locations might be crucial to the survival of the Project and, by extension, humanity. Players will have to negotiate with these factions, making promises, bartering, or even war to bring them around and save the planet. This type of negotiating with havens can take many forms, as Snapshot explains: Havens will frequently request assistance fighting off alien incursions, but sometimes you will be asked to intervene in a conflict between the human factions. You will get involved in kidnaps, rescues, assassinations, sabotage, infiltration, haven takeovers and base defense missions. You will need to find out what happened to the Phoenix organisation, which involves remote locations and some missions with an archaeological aspect. Then there are the assaults on alien bases and the giant alien land walkers. Missions will often have multiple objectives that can be accomplished in a variety of ways. Procedurally generated battlefields will have some degree of destructibility that can be used to think outside the box and defeat the enemy mutants. New weapons, technology, and more can be gained through victory, but defeat could mean even worse horrors that use the same tools against you. Soldiers gain experience over time or can undergo special training away from the battlefield. Each class a soldier can become has its own skill tree to personalize and empower each character under the player's command. Snapshot Games says that these skill trees will be extensive, so that might mean more customization than what we have seen in the rebooted XCOM's systems. Overall, this game looks like something to keep on your radar if you're a strategy fan. While Snapshot Games currently only has Chaos Reborn under its belt, Julian Gollop is no slouch. Phoenix Point is almost guaranteed to be an interesting game with his involvement. After a year of solitary development, the project has been put on Fig to begin a round of crowdfunding which will last for the next 43 days. The actual PC release of Phoenix Point remains far off, Snapshot Games doesn't expect to ship it until late in 2018. View full article
  11. With Phoenix Point, the creator of the original X-COM, Julian Gollop, returns to the genre he helped create almost 25 years ago, but this time it has a twist of Lovecraftian horror. The upcoming tactics game takes place in the near future. Global warming has unleashed a horror from beneath the ice: The Pandoravirus. This virus wipes through the world and pushes humanity to the brink of destruction, collapsing society to a handful of havens held together by warlords who fight over the remains of the old world. The Phoenix Project is the last hope to turn the tide, a small group of soldiers and scientists that have assembled to stand against the relentless virus. The Pandoravirus merges DNA and evolves it at a rapid pace, resulting in large numbers of mutated animal-human hybrids. These Lovecraftian horrors roam under clouds of black mist in the areas outside of whatever safe zones humanity has managed to scrape together. They also possess intelligence, acting with goals and motives at which humans can only guess. Some creatures even use weapons and armor they've taken from the world's battlefields. However, the scariest feature of Pandora's children is their inherent ability to evolve to protect themselves from their enemies. As players progress through Phoenix Point, enemies will evolve to best counter the strategies used to defeat their kind previously. Much like XCOM, there will be two aspects to the gameplay: Turn-based tactics and global management. Humans still retain control of the skies, but the Pandoravirus holds dominion over the seas. Humans and horrors clash over who reigns over the land. Having control of areas and being able to scavenge them for supplies will be crucial for funding research into ways to counter the virus and evolve your own equipment. Players will also be able to tackle missions to achieve various objectives, like taking down massive behemoths that roam the continents. These monsters will take coordination, planning, and vehicle support to take down. Failing to defeat them could result in entire cities being wiped off the face of the earth. Unfortunately, not all of Earth is united behind the Phoenix Project. Numerous factions and warlords don't believe humanity can or should be saved. These attitudes sometimes put them at odds with the Phoenix Project's goals of stopping the Pandoravirus. While some might join the cause, others will not and their resources or locations might be crucial to the survival of the Project and, by extension, humanity. Players will have to negotiate with these factions, making promises, bartering, or even war to bring them around and save the planet. This type of negotiating with havens can take many forms, as Snapshot explains: Havens will frequently request assistance fighting off alien incursions, but sometimes you will be asked to intervene in a conflict between the human factions. You will get involved in kidnaps, rescues, assassinations, sabotage, infiltration, haven takeovers and base defense missions. You will need to find out what happened to the Phoenix organisation, which involves remote locations and some missions with an archaeological aspect. Then there are the assaults on alien bases and the giant alien land walkers. Missions will often have multiple objectives that can be accomplished in a variety of ways. Procedurally generated battlefields will have some degree of destructibility that can be used to think outside the box and defeat the enemy mutants. New weapons, technology, and more can be gained through victory, but defeat could mean even worse horrors that use the same tools against you. Soldiers gain experience over time or can undergo special training away from the battlefield. Each class a soldier can become has its own skill tree to personalize and empower each character under the player's command. Snapshot Games says that these skill trees will be extensive, so that might mean more customization than what we have seen in the rebooted XCOM's systems. Overall, this game looks like something to keep on your radar if you're a strategy fan. While Snapshot Games currently only has Chaos Reborn under its belt, Julian Gollop is no slouch. Phoenix Point is almost guaranteed to be an interesting game with his involvement. After a year of solitary development, the project has been put on Fig to begin a round of crowdfunding which will last for the next 43 days. The actual PC release of Phoenix Point remains far off, Snapshot Games doesn't expect to ship it until late in 2018.
  12. Brothers: A Tale of Two Sons was born from the vision of filmmaker Josef Fares. Fares, a Lebanese refugee, managed to escape the country's civil war in 1987 and relocate to Sweden with his family. He became a prolific director in the Swedish film world and made Jalla! Jalla!, one of the most popular films in the country. Released by Starbreeze Studios in 2013, Brothers adopted a highly unconventional dual joystick control scheme for its isometric adventure game. It became an instant critical darling, but what did it do right to earn that praise? Perhaps things are different when revisiting the game from a 2017 perspective. Is Brothers: A Tale of Two Sons worthy of the praise it received for its cinematic vision and unique control scheme? Is it one of the best games period? Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: The Witcher 3: Wild Hunt 'Love and Loss' by Sebastien Skaf (http://ocremix.org/remix/OCR03484) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is (sometimes) available as well, so you can watch what we are talking about while we talk about it! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday View full article
  13. Brothers: A Tale of Two Sons was born from the vision of filmmaker Josef Fares. Fares, a Lebanese refugee, managed to escape the country's civil war in 1987 and relocate to Sweden with his family. He became a prolific director in the Swedish film world and made Jalla! Jalla!, one of the most popular films in the country. Released by Starbreeze Studios in 2013, Brothers adopted a highly unconventional dual joystick control scheme for its isometric adventure game. It became an instant critical darling, but what did it do right to earn that praise? Perhaps things are different when revisiting the game from a 2017 perspective. Is Brothers: A Tale of Two Sons worthy of the praise it received for its cinematic vision and unique control scheme? Is it one of the best games period? Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: The Witcher 3: Wild Hunt 'Love and Loss' by Sebastien Skaf (http://ocremix.org/remix/OCR03484) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is (sometimes) available as well, so you can watch what we are talking about while we talk about it! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday
  14. To be fair, you really dig deep and find the good in movies others tend to discard. That's part of what I love about your writing, haha!
  15. Hideki Kamiya's Devil May Cry released in 2001 for the PlayStation 2 and arguably changed the course of action games for years to come. In a very loose adaptation of Dante's Inferno, Devil May Cry stars a white-haired, pistol and sword-wielding demon slayer named Dante who embarks on a quest to stop a demonic invasion of Earth. The fluid combat mechanics and cheesy story captivated audiences. Have the years been kind to the game that was once intended to be Resident Evil 4? Is Devil May Cry one of the best games period? Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: Tales of Symphonia: Dawn of the New World 'Go the Distance' by Sixto Sounds (http://ocremix.org/remix/OCR01850) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is (sometimes) available as well, so you can watch what we are talking about while we talk about it! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday View full article
  16. After a long period of rumor and speculation, Activision Blizzard has confirmed that the next Call of Duty will indeed be returning to the battlefields of World War II. The next installment will be called Call of Duty: WWII. More details will be revealed in a livestream on the Call of Duty website next Wednesday, April 26. Images purporting to be from Call of Duty promotional material have been circulating internet forums for the past months, but nothing official came out of Activision. The only hint that the images and information might be real was from an Activision investor call back in February in which the company stated that they would be going back to "traditional combat" after their forays into science-fiction action. Due to the lackluster performance of Call of Duty: Infinite Warfare, they said that their 2017 addition to the series would be "giving the players what they want." Though Call of Duty initially started as a series set exclusively in the historical conflicts of World War II, that changed with Infinity Ward's Call of Duty 4: Modern Warfare. That game catapulted the series into ubiquity and Activision never really looked back. Treyarch delivered one more WWII entry to the series in 2008 with Call of Duty: World at War, but after that the series shifted focus to highlight fictional, near-future conflicts. After almost a decade, seeing Call of Duty return to its roots is a refreshing change of pace. View full article
  17. After a long period of rumor and speculation, Activision Blizzard has confirmed that the next Call of Duty will indeed be returning to the battlefields of World War II. The next installment will be called Call of Duty: WWII. More details will be revealed in a livestream on the Call of Duty website next Wednesday, April 26. Images purporting to be from Call of Duty promotional material have been circulating internet forums for the past months, but nothing official came out of Activision. The only hint that the images and information might be real was from an Activision investor call back in February in which the company stated that they would be going back to "traditional combat" after their forays into science-fiction action. Due to the lackluster performance of Call of Duty: Infinite Warfare, they said that their 2017 addition to the series would be "giving the players what they want." Though Call of Duty initially started as a series set exclusively in the historical conflicts of World War II, that changed with Infinity Ward's Call of Duty 4: Modern Warfare. That game catapulted the series into ubiquity and Activision never really looked back. Treyarch delivered one more WWII entry to the series in 2008 with Call of Duty: World at War, but after that the series shifted focus to highlight fictional, near-future conflicts. After almost a decade, seeing Call of Duty return to its roots is a refreshing change of pace.
  18. This isn't super complicated - Good Old Games and Steam have been having massive sales on games published by Deep Silver, which includes the Saints Row franchise. While the sales themselves offer some really great prices, the real steal is that one of the core entries in the series can be downloaded for free. Gamers can get their digital hands on a copy of Saints Row 2 for from either service at the low price of $0. Both versions are essentially the same, though the GOG version comes without any restrictive DRM. The offer from Steam lasts until tomorrow at noon while the GOG offer only extends until the early hours of tomorrow morning. View full article
  19. This isn't super complicated - Good Old Games and Steam have been having massive sales on games published by Deep Silver, which includes the Saints Row franchise. While the sales themselves offer some really great prices, the real steal is that one of the core entries in the series can be downloaded for free. Gamers can get their digital hands on a copy of Saints Row 2 for from either service at the low price of $0. Both versions are essentially the same, though the GOG version comes without any restrictive DRM. The offer from Steam lasts until tomorrow at noon while the GOG offer only extends until the early hours of tomorrow morning.
  20. Right? Like, I reading some plate armor and a halberd so I can fight my way through the crowds that will kill for this thing.
  21. According to Eurogamer, anonymous sources close to Nintendo have confirmed that the company will be releasing a Super Nintendo Entertainment System Classic, similar to the miniature NES Classic that was recently discontinued. Those same sources say that this miniaturized SNES has been scheduled for release this holiday season. This report also reveals the reason for the sudden discontinuation of the NES Classic despite continuing high demand for the micro-console. Nintendo never expected it to do all that well. They planned to produce enough to satisfy those who would buy it as a novelty. Instead, demand far outpaced their expectations, leading to an extended production schedule and plans for the SNES Classic. The production of the SNES Classic, sources claim, is what caused the discontinuation of the NES Classic. This entire story hinges on Eurogamer's sources being accurate, so take it with a grain of salt. We'll update the story to let you know if Nintendo contradicts what the sources have said. That being said, this would be an awesome move that could see a fever-pitch of fan demand. The NES was certainly iconic, but the SNES library is tough to beat for quality and quantity. Depending on what games Nintendo puts on the plug-in console, there could be stampedes for the SNES Classic. If this turns out to be true, we will likely hear about it during E3 in June. View full article
  22. According to Eurogamer, anonymous sources close to Nintendo have confirmed that the company will be releasing a Super Nintendo Entertainment System Classic, similar to the miniature NES Classic that was recently discontinued. Those same sources say that this miniaturized SNES has been scheduled for release this holiday season. This report also reveals the reason for the sudden discontinuation of the NES Classic despite continuing high demand for the micro-console. Nintendo never expected it to do all that well. They planned to produce enough to satisfy those who would buy it as a novelty. Instead, demand far outpaced their expectations, leading to an extended production schedule and plans for the SNES Classic. The production of the SNES Classic, sources claim, is what caused the discontinuation of the NES Classic. This entire story hinges on Eurogamer's sources being accurate, so take it with a grain of salt. We'll update the story to let you know if Nintendo contradicts what the sources have said. That being said, this would be an awesome move that could see a fever-pitch of fan demand. The NES was certainly iconic, but the SNES library is tough to beat for quality and quantity. Depending on what games Nintendo puts on the plug-in console, there could be stampedes for the SNES Classic. If this turns out to be true, we will likely hear about it during E3 in June.
  23. Interesting dynamics and history are at play with Bandai Namco's creation of Project Vein. You see, Bandai Namco basically lucked into the gravy train that has been the Dark Souls series for the past five years. FromSoftware worked with Sony to publish the first Souls game, Demon's Souls. However, due to its initially lackluster sales performance Sony wasn't particularly interested in going through the trouble of bringing Demon's Souls to the wider world. Niche game publisher Atlus saw potential and stepped in to bring the game to North America where it became a cult classic. Unfortunately, sales still weren't huge and no publisher seemed overly eager to publish Demon's Souls for the European market. Even traditional FromSoftware partners like Tecmo Koei and Ubisoft turned their noses up when approached. That's when Bandai Namco stepped in to publish Demon's Souls in Europe, laying the groundwork for their future partnership with FromSoftware a year later. When it came time to release Dark Souls, FromSoftware self-published the game in Japan, but worked with Bandai Namco for a wider release in non-Japanese markets. That deal turned out to be huge for Bandai Namco. Dark Souls started printing money and Bandai Namco got a nice chunk of that profit. From was so satisfied with how Bandai Namco handled their end of the publishing deal that Dark Souls II and Dark Souls III were entirely published by Bandai Namco. However, FromSoftware is an independent developer. That meant they were free to have their games published by whatever company they chose. That freedom allowed them to work with Sony to publish Bloodborne, a new IP that similarly sold incredibly well - but it sold incredibly well for From and Sony, Bandai Namco could only watch from the sidelines. Project Vein looks very, very heavily inspired by Bloodborne. The promotional hashtag teased at the end of the trailer #PrepareToDine is even a slight variation on the original Dark Souls' catch phrase, "Prepare to die." I don't think that's a bad thing at all - some of the greatest works of art draw heavily from other works of art. However, I do think that at least some part of this Bandai Namco's decision to develop and self-publish Project Vein has to do with chasing after that sweet, sweet Bloodborne money - without having to rely on an independent developer like FromSoftware that could cut them out of future ventures. Not only that, but Bandai Namco would actually own the Project Vein IP if it became successful. They would be free to adapt it to other mediums, much like what they did with their God Eater franchise. Interestingly, the same team that developed God Eater has now been shifted over to work on Project Vein. If you look at God Eater, there is a franchise that spans several games, several light novels, an anime series, and a trading card game, all of which have done relatively well. If Project Vein proves to be even half as popular as Bloodborne, it could be similarly adapted and serialized. There's a lot of money on the line if Project Vein succeeds. Bandai Namco has tasted the success of Dark Souls and watched on as FromSoftware, the goose that was laying golden eggs for them, created another smashing success for Sony. A lot of this is speculation on my part, but Project Vein seems like Bandai Namco's attempt to cash in on the popularity of FromSoftware's mechanics and dark style. Here's hoping that this results in a great game that can live up to or surpass what inspired it and not a retaliatory cash grab. View full article
  24. Interesting dynamics and history are at play with Bandai Namco's creation of Project Vein. You see, Bandai Namco basically lucked into the gravy train that has been the Dark Souls series for the past five years. FromSoftware worked with Sony to publish the first Souls game, Demon's Souls. However, due to its initially lackluster sales performance Sony wasn't particularly interested in going through the trouble of bringing Demon's Souls to the wider world. Niche game publisher Atlus saw potential and stepped in to bring the game to North America where it became a cult classic. Unfortunately, sales still weren't huge and no publisher seemed overly eager to publish Demon's Souls for the European market. Even traditional FromSoftware partners like Tecmo Koei and Ubisoft turned their noses up when approached. That's when Bandai Namco stepped in to publish Demon's Souls in Europe, laying the groundwork for their future partnership with FromSoftware a year later. When it came time to release Dark Souls, FromSoftware self-published the game in Japan, but worked with Bandai Namco for a wider release in non-Japanese markets. That deal turned out to be huge for Bandai Namco. Dark Souls started printing money and Bandai Namco got a nice chunk of that profit. From was so satisfied with how Bandai Namco handled their end of the publishing deal that Dark Souls II and Dark Souls III were entirely published by Bandai Namco. However, FromSoftware is an independent developer. That meant they were free to have their games published by whatever company they chose. That freedom allowed them to work with Sony to publish Bloodborne, a new IP that similarly sold incredibly well - but it sold incredibly well for From and Sony, Bandai Namco could only watch from the sidelines. Project Vein looks very, very heavily inspired by Bloodborne. The promotional hashtag teased at the end of the trailer #PrepareToDine is even a slight variation on the original Dark Souls' catch phrase, "Prepare to die." I don't think that's a bad thing at all - some of the greatest works of art draw heavily from other works of art. However, I do think that at least some part of this Bandai Namco's decision to develop and self-publish Project Vein has to do with chasing after that sweet, sweet Bloodborne money - without having to rely on an independent developer like FromSoftware that could cut them out of future ventures. Not only that, but Bandai Namco would actually own the Project Vein IP if it became successful. They would be free to adapt it to other mediums, much like what they did with their God Eater franchise. Interestingly, the same team that developed God Eater has now been shifted over to work on Project Vein. If you look at God Eater, there is a franchise that spans several games, several light novels, an anime series, and a trading card game, all of which have done relatively well. If Project Vein proves to be even half as popular as Bloodborne, it could be similarly adapted and serialized. There's a lot of money on the line if Project Vein succeeds. Bandai Namco has tasted the success of Dark Souls and watched on as FromSoftware, the goose that was laying golden eggs for them, created another smashing success for Sony. A lot of this is speculation on my part, but Project Vein seems like Bandai Namco's attempt to cash in on the popularity of FromSoftware's mechanics and dark style. Here's hoping that this results in a great game that can live up to or surpass what inspired it and not a retaliatory cash grab.
  25. You know what? I'll come right out and say it - we don't see nearly enough vampire games. BloodRayne, Vampire Rain, Vampire: The Masquerade, Castlevania, all of them star or feature vampires, but they often fall short of being something that truly lives up to the vampires of legend. That might be changing with Vampyr on the horizon and now Project Vein. Project Vein comes courtesy of Bandai Namco, the publisher of the Dark Souls series. The slickly animated teaser trailer holds a number of tantalizing details about what the game itself could hold. It seemingly stars a lady vampire who is hunting other vampires or occult creatures. The main character seems to be wielding a rifle with a bayonet attachment that serves as both a melee weapon and a ranged weapon, something imported from Bloodborne's similar hybrid combat. Players will also be able to make use of AI companions to help them in battle. In the world of Project Vein, vampires are called Revenants and they have great power. Unfortunately, the process of becoming a Revenant strips these powerful beings of their memories. Together they live as part of a society called Vein. The tagline, "Prepare to dine," seems to imply that blood will perhaps serve as the Souls-like currency of leveling up. Revenants need blood to avoid the fate of becoming a Lost, a savage creature that has discarded its humanity. Perhaps our heroine has a duty to hunt these Lost creatures? According to translations by Gematsu of the Japanese gaming magazine Famitsu, Project Vein is described by Bandai Namco as a "dungeon exploration-type, hard action RPG." Namco Bandai has put one of their most successful teams, the one behind the God Eater series, onto Project Vein. Project Vein is still far from being finished. It's roughly estimated to be only 30% complete and people shouldn't hope for it to be done by the end of this year. It will likely release at the tail end of 2018. Here's hoping it doesn't go the way of many cool vampire projects like the cancelled PS3 title Harker. View full article