World of Warcraft petition leads to in-game Robin Williams tribute

A World of Warcraft petition requesting a new in-game character based on late actor and comedian Robin Williams has been successful.

petition requesting a new in-game character based on late actor and comedian Robin Williams has been successful. That may seem strange at first, but Williams was reportedly an avid World of Warcraft player. According to the petition page, Williams used to play on the Mannoroth server, and "was something of a troll in trade on good days or when anonymity [was] allowed."

"Mr. Williams said in interviews that he took his World of Warcraft characters very [seriously]," the petition description reads. "In fact, he was well known for being an extreme PC builder who preferred to build his own overclocked and super-cooled systems. He often joked about his WoW addiction but also about the reactions he'd get from other gamers when he admits he plays the game."

Barely 24 hours after the petition commenced, Technical Game Designer Chadd Nervigg announced on Twitterthat Blizzard was working on it. If the studio selects to follow the petition's wishes word-for-word, a new character based on Williams will deliver jokes in the Worlds End Tavern.

"It is with a growing sense of pride for the world of warcraft community that I declare victory for this petition," organiser Jacob Holgate wrote. "In less than twenty four hours we've earned eleven thousand signatures, a huge amount of traction on many gaming and new outlets, as well as assurance from Blizzard employees that our desire for a Robin Williams tribute and or NPC will be handled with great care."

Robin Williams passed away in his home on August 11. He was a passionate fan of games, even naming his daughter Zelda after the Nintendo character.

Wasteland 2 video shows stompy scorpion, a little bit of zooming

Here it is, the first video of Wasteland 2, picked up on Evil Avatar .

. If you've seen the first screenshot of Wasteland 2 above, the footage will be very familiar. This time the scorpion's stamping a bit, and the band of adventurers seem to be unwisely taunting the thing. The demo also shows a few different viewing angles. ZOOMING CONFIRMED. It's not much, but it's a start, and it feels as though there's extra onus on Kickstarter developers to show their working as they go along. Look, they're saying, here's what we're making with your money.

Three new game-inspired heavy metal tracks added to MegaDriver's massive free offering

Above: 'Axe Tales' by MegaDriver A new promotional album from the band, titled 'Metal for Gamers,' was released as a free download today. The three-track recording apparently represents a new direction for the group, which has traditionally created instrumental metal covers of game songs. According to today's press release: "The soundtrack from classical games, in its vast majority, is composed by

Oort Online is a new Voxel-based MMORPG by former Lionhead and EA veterans

The world may not be wanting for a new procedurally generated , Voxel-based open world game , but Oort Online looks very promising.

, but Oort Online looks very promising. In development at Guildford studio Wonderstruck Games, the crowdfunded title is the work of former Lionhead, EA and Hello Games talent. The MMORPG will be set across a variety of worlds, all of which exist in the same universe where players can "explore, fight, survive, build and craft".

Each world has a different graphical theme and resources, meaning there will be plenty of reason to explore the different areas. These will be populated by enemies known as The Protectors, which can be defeated both alone and cooperatively for filthy lucre (or loot, if you prefer). Land can be claimed using Beacons, which protect whole regions and basically work as land claims. Players are then welcome to build whatever they wish in their regions (or anywhere else if they're brave enough). Maybe you will build a city, or maybe you will build a giant firey pit for the corpses of your enemies. It's up to you. Then, if you fancy convenient access to other worlds, maybe you will build a Portal nearby.

While the MMO and combat aspects are par for the course, it's the world building elements which make Oort Online an interesting prospect. The blank slate world will hopefully see the formation of player-founded politics and conflicts. Indeed, Wonderstruck Games writes that it wants Oort Online to be a “second home” for its players. EVE Online, anyone?

While the game's crowdfunding campaignwas only launched this week, Oort Online has been in development since late 2013. The studio is currently planning a late 2015 release, though for $95 you can play the game's prototype build right now. Otherwise, an alpha is planned for early 2015 and then a beta midyear. Most crowdfunding tiers allow users to vote on the feature roadmap for the game. Full details in the video below:

Wasteland 2 secures $3 million in funding

Brian Fargo's Kickstarter campaign to fund a sequel to Wasteland is complete.

Wasteland 2

to fund a sequel to Wasteland is complete. The project has been well and truly funded. With some additional help from Paypal donations(which aren't counted on the main Kickstarter money ticker), the funding drive sailed over the magical $3 million barrier, which isn't bad at all when you consider the original $900,000 target.

The developers promised to deliver a suite of mod tools alongside the game's release should the campaign smash the $3m target. More than 60,000 backers have teamed up to make that happen. Now we get to sit back and watch the game come together. Congratulations to Brian Fargo and co, and all those backers. Go on, give yourselves a pat on the back.

Castlevania: Mirror of Faith coming exclusively to 3DS says report

Castlevania: Lords of Shadow released in 2010 to a bit of a mixed reception. Some people adored the game for its incredible art direction, and others panned it as a me-too God of War clone (we adored it.) Gamers in the former camp may have reason to be excited about the apparently impending announcement of Castlevanie: Mirror of Faith. The 3DS title showed up on a Dutch website's E3 2012 appointment

Why WoW's level 90 character boost is a shortcut you shouldn't take

World of Warcraft launched ten years ago this November.

launched ten years ago this November. That's a long time in video game years, and even longer for an MMORPG. The world of Azeroth was already big when the game launched in November 2004, but ten years and four expansions have made WoW utterly massive—and intimidating for new or returning players. That's one of the reasons why Blizzard has introduced a new in-game service to boost characters to the game's current max level, 90. For $60, you can take a brand new character, or one you played but didn't max out, and shortcut them straight to the top-end content for Mists of Pandaria, the game's most current expansion.

It's a handy service for both current and returning players, but it's not perfect. Getting a boost from level 1 to 90 is like learning how to swim by jumping off a diving board, straight into the deep end. And even though Blizzard gives you all of the skills and gear you need to be level 90, it may not be enough to keep your group happy. No one wants to be at the bottom of the damage-per-second charts in an endgame raid.

I watched Blizzard's soft-launch for Level 90 boosts with intense interest. I've played WoW for years, but never made it to max level in Pandaria, and I've always wanted to join raiding friends who never stopped playing. But paying for a character I didn't earn feels like drinking from a fire hose or jumping into the deep end of a pool without floaties—for now at least, there's no good way to learn how your new 90 works.


How to boost

In my hundreds of hours in Azeroth, I've played damage dealers and healers. I've never leveled up a Warrior, however, so I decided to jump in at max level for the class. I created Roldt, a Worgen Warrior with a lot of heart, if not a lot of experience. A quick $60 purchase will fix that.

Buying a level 90 upgrade is so easy that it's almost disappointing. Blizzard sells the service through its in-game store, which normally sells premium mounts or vanity pets. It takes just two clicks to purchase the upgrade—the charge goes on the credit card linked to your Battle.net account.

The level boost can be given to any character, but those over level 60 will get a “veteran” boost. This upgrades the character to level 90, but also upgrades that character's primary professions to max status. The upgrade does not affect secondary professions, such as cooking, fishing, or archeology, though it does affect First Aid. If you upgrade a level 60+ character to 90 but haven't selected primary professions, Blizzard will select “recommend” professions based on the character's armor proficiencies. Plate wearers receive Blacksmithing and Mining, cloth-wearing classes get Enchanting and Tailoring, and classes that use leather or mail armor are granted Leatherworking and Skinning.

Once purchased, you immediately apply the upgrade to a character on your server. I selected Roldt and was given a choice of three specializations for the character: Arms for melee, two-handed DPS, Fury for dual-wielding DPS, and Protection for tanking. The choice here affects not only what abilities fill your hotbar, but also the set of ilvl 493 green equipment you receive. I started a warrior to learn how to tank, so I selected Protection.

That was a mistake.

A few moments later, my previously destitute level 1 warrior stood in the Shrine of Seven Stars, his Oathsworn armor set gleaming in the sun. “Here I stand, at the gates of Pandaria's most epic content,” I thought to myself. And then I realized I had no idea what to do next.


No maps for these territories

As a newly minted level 90, I expected to see a special quest marker or notification that pointed me in the direction of adventure. There wasn't one. I started configuring my hotbars and addons, and wandered the Shrine in search of answers, or even a mailbox. I found portals to the game's various hub cities, as well as some high-end vendors and a few endgame content quest givers. Eventually, I had ten quests and no idea where to go. Time to turn to the community.

Wowhead's starting guide for boosted level 90s recommends Timeless Isle as a place to gear up for Pandaria's heroic dungeons and raids. Added in patch 5.4, Timeless Isle is designed as an open-world questing and adventure area for both Alliance and Horde characters. To get there, I followed the A Flash Of Bronze quest, which sent me to Chromie, the bronze dragon-in-gnome-form that handled time-travel quests in previous expansions. I met her at the Seat of Knowledge, not far from the Shrine, and since the level boost gave me flight permission in Pandaria, getting there was a snap. Chromie gave me a Curious Bronze Timepiece, which teleported me to the island.

Timeless Isle is a lot of fun, and includes a ton of quests and content that grants higher level gear. Wowhead's guide to Timeless Isleis a good introduction to the area, but the gist is that you're going to explore the island, do a few quests, find a lot of gear chests and battle rare, elite spawns on the island. If you're in a hurry, you can also ignore most of the mobs on Timeless Isle and just hunt for chests—WoW Insider's map of chest locationson the island helps with that.

What Timeless Isle doesn't do is teach me how to play this new character. And that's causing its own problems for the playerbase. While endgame raiders have always bellyached about bad players, the sudden influx of level 90 characters without 90 levels of player skill has caused drama in WoW's Looking For Raid feature. And while it's hard to quantify the issue, it's not hard to imagine that many low-DPS accusations are based on players who haven't mastered their new characters.


School of hard knocks

Blizzard has a plan to improve the boosting learning curve, but it's not coming until right before Warlords of Draenor, which should ship later this year. World of Warcraft director Tom Chilton tells me that a pre-expansion patch, version 6.0, will include a mode that forces newly boosted characters to earn their abilities, instead of stacking them with every power at once.

“That way, you don't get dropped into a character that has a ton of different abilities that you're not familiar with,” he says. “You get dropped into a class and you have three abilities to start with.” Completing small tasks and quests will quickly earn you your core abilities from there, while teaching you how to use them.

Until then, the closest thing to a tutorial is the Proving Grounds, added in patch 5.4. Accessed via your class trainer, Proving Grounds is a solo instance that helps you train for group encounters through a series of AI-assisted challenges. In my case as a Prot Warrior, the Proving Grounds challenged me to protect an NPC damage dealer from waves of increasingly difficult enemies. I had to manage aggro and keep the mobs away from the NPC, or else I'd fail.

Since I don't know how to manage aggro, I failed a lot.

“The Proving Grounds was supposed to be a feature that allows you to experiment with roles that you're not used to,” says Luis Barriga, lead game designer on WoW. “We have players who have been around for ten years but they've always played as a damage dealing class.” By building a solo instance that mimics dungeon environments, it should be easier for players to try out new strategies and roles. “It's very difficult to step into that role without having just jumped in and dealt with the consequences,” Barriga says.

It's not really a teaching tool for boosted 90s, however. “It's not a tutorial from the standpoint of teaching you step by step exactly how to do it,” he says, “but gives you a place to figure it out yourself in a very safe environment.”


Not newbie approved

Knowing that Blizzard hasn't yet implemented its planned tutorial system, I asked the developer why it launched the feature at $60 now. “Mostly because there was a lot of interest in it by our existing players that wanted to have alternate characters,” says Chilton. The primary audience right now is “people that are already engaged with the game and currently playing,” which means they know way more about areas like Timeless Isle than those planning to return for the new expansion.

I'm excited by the idea of a hand-holding tutorial for new 90s when Warlords of Draenor launches, especially since everyone who purchases the expansion will get a free boost. But for now, I have to learn how to play the tank I've purchased the hard way—through community guides and in-game experience. I wish I'd waited, especially because I love the flow of endgame quests that push you to max level in Blizzard's expansions. If you're thinking about buying yourself a max level character right now, I'd recommend that you wait until Warlords.

Wasteland 2 secures $3 million in funding

Brian Fargo's Kickstarter campaign to fund a sequel to Wasteland is complete.

Wasteland 2

to fund a sequel to Wasteland is complete. The project has been well and truly funded. With some additional help from Paypal donations(which aren't counted on the main Kickstarter money ticker), the funding drive sailed over the magical $3 million barrier, which isn't bad at all when you consider the original $900,000 target.

The developers promised to deliver a suite of mod tools alongside the game's release should the campaign smash the $3m target. More than 60,000 backers have teamed up to make that happen. Now we get to sit back and watch the game come together. Congratulations to Brian Fargo and co, and all those backers. Go on, give yourselves a pat on the back.

First Castlevania: Lords of Shadow DLC releasing before the end of the month

Konami announced today that the 'Reverie' DLC add-on for Castlevania: Lords of Shadow will be released "at the end of March" on XBLA and PSN for 800 MS and 7.99 Euros (approx. $11 USD) respectively. Reverie, which was delayed last month, is the first of two planned expansions for the game. The DLC "sees players return to the castle as Gabriel seeks to help Laura, the former servant to the vampire Camilla

World of Warcraft anniversary event sends you back to Molten Core, gives you a corgi

It's been ten years since World of Warcraft opened the gates of Azeroth to all.

opened the gates of Azeroth to all. A lot has changed: You can buy a level 90 character if you want (though we don't recommend itif you're just coming back), the talent system has been simplified, and the world has been expanded and remade multiple times. This year, Blizzard wants you back. For those who remember the good old days of 40-man raids, the developer has some nostalgia-packed events coming your way—including a corgi vanity pet.

That adorable puppy above? That's a Molten Corgi, and anyone who logs in during WoW's anniversary event will get one, according to a new. Your new lava-loving buddy won't help you fight against Ragnaros, but he'll make you look stylish when you and 39 of your friends try.

"But Ragnaros is part of some ancient content," you might be saying. Sure, but Blizzard's anniversary event will also include a new Raid Finder version of Molten Core, specifically for max level characters. "Downing the Firelord will earn you an Achievement and a special Core Hound mount reward" according to the update.

Early PVPers will also remember the ad-hoc battles fought between Tarren Mill and Southshore. The WoW anniversary will include a new "Team Deathmatch–style Battleground based on that timeless struggle."

I'm a sucker for this retro stuff: I have tons of fond memories of WoW's early years, and while the old world still exists in the game, WoW is clearly built for its endgame content. It'll be a fun trip down memory lane to go through these special encounters, and while Blizzard hasn't yet announced when the event is happening, WoW's anniversary is on Sunday, November 23. I'd expect it to take place around then.

inXile files Autoduel trademark

Autoduel was a racing/RPG based on the Steve Jackson Games pencil-and-paper RPG Car Wars , a vaguely Mad Max-ish game about heavily-armed vehicles doing battle in a post-apocalyptic America.

Autoduel

, a vaguely Mad Max-ish game about heavily-armed vehicles doing battle in a post-apocalyptic America. The computer version was developed by the long-defunct Origin Systems and released all the way back in 1988. And now, if a trademark filing dug up by the RPG Codexis to be believed, it may be on the way back.

The filing, which was actually made back in July, is for "providing online downloadable computer and video game programs; Interactive video game programs," with the applicant listed as inXile Entertainment Inc. That doesn't necessarily mean much—trademark filings are easy enough to fake, as we know—but inXile founder Brian Fargo gave the find some legitimacy by retweetingan image of the filing with the comment, "Once again the Codex is first on the scene."

Once again the Codex is the first on the scene... https://t.co/T1AbifM0T8 October 22, 2015

The Fargo connection to Autoduel isn't as obvious as it is with games like Wasteland 2or The Bard's Tale 4, but it is there. Origin Systems was founded in 1983 by Richard Garriott (and others, including his brother Robert, but Richard is the one everybody knows) and acquired by Electronic Arts in 1992; Electronic Arts just happens to be the publisher of the original Wasteland and the original Bard's Tale trilogy.

It's a tenuous link, but given the success inXile has had with Wasteland 2 and the widespread interest in other old-school resurrections—especially RPGs—it's not unreasonable to think that EA would give him a shot at a franchise that hasn't been touched for decades. InXile said it had no comment beyond Fargo's tweet, which isn't surprising but still a bit disappointing. We'll keep you posted. In the meantime, don't miss our recent chat with Brian Fargoabout Wasteland 2, Fallout 4, and the different paths that lead to the end of the world.

Castlevania DLC delayed on Xbox 360 at the last minute

If you were waiting for the latest Castlevania: Lords of Shadow DLC for the 360, you may have noticed that... well, it isn't there. Konami has now confirmed there were problems that forced the company to pull it at the very last minute. In a series of ongoing tweets from Konami's "castlevanialos" account , managed by David Cox, the publisher clarifies that the content is complete and ready to go, but

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Our Verdict
Makes you work a lot for very little.

Makes you work a lot for very little. The repetitive churn of missions and activities further spoil an only occasionally entertaining shooter.

need to know

Price: Free-to-play
Release: Out now
Publisher: Red 5 Studios
Developer: In-house
Website: Official Site
Multiplayer: Massively

Firefall is a free-to-play MMO shooter with an emphasis on dynamic events, skill-based combat and desperate defences against sometimes overwhelming enemy forces. All of which sounds promising, but Firefall also features a lack of variety, constant busywork and a set of interconnected systems that sit awkwardly against the moment-to-moment drudgery of the game. It has potential. The problem is that, in almost every instance, it fails to meet the ideal it's trying to sell.

The single greatest example of this—at least across the thirty hours that I've played—is found in Sunken Harbor. It's a hub containing a PvP arena, designed as a space for players to let off steam between missions and activities. Only, where the in-game displays and banners advertise a fully featured team competition, the reality is an unstructured free-for-all, where the few who show up take pot-shots at each other before growing bored and wandering off. Mostly it sits empty; a symbolic beacon of Firefall's lengthy and troubled development.

That's a shame, because, in the right place, with the right class and when participating in the right event, you get a hint of what the game should have been. There's a frantic fun to be had dodging and weaving with your jetpack, avoiding fire and clearing out hordes. Firefall contains the suggestion of a solid shooter, and occasionally it comes to the surface.

Set primarily in Brazil, Firefall depicts a world that's witnessed more than its share of cataclysm. First there was the Firefall itself: an asteroid shower that devastated much of the planet. More relevant to the main plot is the Arclight, an interstellar spaceship that crashed into Earth on its maiden voyage. Its flaring crystite engines pulled through a strange purple death cloud from an alternate dimension. This is the Melding, from which emerged the Chosen—the rather self-defeating name given to the humanoid beings now trying to wipe out humanity.

Firefall14

This is the backdrop against which you, the gun-for-hire Ares 35, operate. As a mercenary, the invasion of the Chosen is, at first, only tangentially related to your operations. The war provides plenty of opportunities to pick up work, and so the majority of your time will be spent taking on missions from each hub's job board. These offer a variety of scenarios in which you must go to a place and kill some things. Sometimes you're killing things while defending a person, sometimes you're killing things while collecting some items, and sometimes you're killing things because those things needed killing.

Each job is accompanied by dialogue between your handler, Aero, and your temporary employer. Some form multi-part quest chains that span multiple hubs. At each new area, I made sure to pick up any missions involving a rogue named Wiley, who'd previously had dealings with my callsign's last owner. It was a fun little mystery sprinkled sparsely throughout my time with the game. But aside from this, and a few other notable exceptions, the game's conversations waver between incidental and annoying. Aero, in particular, has a jarringly moralistic edge. She'll repeatedly tell NPCs you're not a contract killer, which, given all the killing you do, rings somewhat false.

From its opening moments, through to its sparse end game (currently a dedicated PvP zone and couple of raid bosses), Firefall is an awkward mix of shooter and MMO. It doesn't have the breadth of systems needed to keep levelling entertaining. As such, the game devolves into repetition. Many objectives struggle to sustain the pretense of variety across even a single mission. Too many times, I would take down the requisite number of bandits, only for that counter to increase as a new wave spawned.

The few times a mission does try something different, it can go badly wrong. In one job, I was required to disguise as a bandit. This happened without warning after completing a combat objective, leaving me close to death and without my abilities, jetpack or health regeneration. Even after I'd inevitably died, I respawned at the quest hub with the disguise still intact—forced to sprint back to the objective without access to my deployable vehicle. A potentially interesting mission became memorable only for its failings.

When you're not on a job, you'll be stopping at one of the dynamic events that appear across the map. These range from small, solo missions, to more difficult group activities. There's little to distinguish these from the regular quests—you're still travelling to an area of the map to fend off bugs, bandits or Chosen. But many require you to hold out against waves of enemies, and it's this structure that provides the best showcase for Firefall's combat.

At the start, each player has access to five basic battleframes. These lightweight mech suits act as your class, and can be swapped at any Battleframe Station without changing character. Earned XP goes towards levelling your currently equipped frame, so while experimentation is possible, it's more effective to stick with a single type. The battleframe you equip defines your weapons and abilities, and—while all are useful in combat—some have the edge in terms of how enjoyable they are to play.

In particular, the minigun of the Dreadnaught and the scoped automatic rifle of the Recon are unexciting to wield. In typical MMO style, enemies can have a big chunk of health. Holding the mouse button over one as their HP slowly drains is an uninteresting interaction. I grew more attached to the plasma grenades of Assault class's cannon, which required me to be consistently accurate while on the move. It doesn't match the satisfying skill level required by Tribes: Ascend's Thumper DX or Spinfusor, but at least offered a challenge that dragged me through the game's repetition.

Firefall4

Each frame can equip abilities to the first four slots of the hotbar, and it's these that gel so well with the defensive mission architype. Engineers can place turrets, Biotech's can deploy healing area-of-effect spells, and Assaults can slam to the ground, doing huge damage to the collected enemies below. The best example of this is squad "Thumps". These are resource collection events, and can be called down by players to any location. Personal thumpers offer a challenge, but it's the craftable squad versions that provide some of the game's most tense and engrossing battles.

If this is starting to sound like unqualified praise, know that the event system is completely unsupported by the way players travel across the map. Melding Tornadoes are one of the other most interesting activities the game offers—a group battle against a swirling, purple, Chosen-spawning twister. It's a call to arms for the playerbase, with the coordinates shared over zone chat whenever one appears. Except, even knowing where it is, it can difficult to reach. You can teleport to mission hubs, but doing so costs Credits—a valuable currency that I was never comfortable wasting. At which point, you're forced to either walk or drive, the latter only an option if you've bought a vehicle with real money or crafted one following a level 25 mission. Most of the tornadoes had disappeared by the time I'd arrived. That or they were empty, leaving me with no hope of finishing the encounter.

This is Firefall's other major failing: it doesn't respect your time. Yes, it's a nice looking game—the alien vibrancy and variety making up for some inconsistent texture quality and off-puttingly cartoonish NPCs—but these scenic views don't justify the how long you'll spend sprinting from location to location. In one early mission, I was asked to trek north to meet with a character. When I arrived, they asked me to turn around and head back. It's an almost comically egregious example, but it highlights a persistent flaw.

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The real money store is largely stocked with cosmetics and XP boosts. It's not "pay to win"—a meaningless designation in a predominantly PvE game—but it is skewed so that the non-paying options take more time than they're worth. Crystite, the basic in-game currency, is earned slowly, and is largely swallowed up by researching new crafting options. This in itself is a slow process—all crafting actions are performed on a timer that can take anything from seconds to days. That timer, of course, can be bypassed by paying real money.

These are all small inconveniences, but they add up. Yes, free-to-play games must strike a balance between time and money, but here that balance feels off. Not because of the contents of the store, or the value of each currency, but because Firefall is rarely engaging enough to make the commitment worthwhile.

The Verdict

Firefall

Makes you work a lot for very little. The repetitive churn of missions and activities further spoil an only occasionally entertaining shooter.

ABOUT THE AUTHOR Phil has been PC gaming since the '90s, when RPGs had dice rolls and open world adventures were weird and French. Now he's the deputy editor of PC Gamer; commissioning features, filling magazine pages, and knowing where the apostrophe goes in '90s. He plays Scout in TF2, and isn't even ashamed.

We recommend By Zergnet

See 20 more minutes of Wolfenstein: The Old Blood footage

Last week, 20 minutes of Wolfenstein: The Old Blood footage emerged out of PAX East.

Last week, 20 minutes of Wolfenstein: The Old Blood footage emerged out of PAX East. Now, Bethesda has released their own high-quality recordings from the show – including yet another 20 minutes courtesy of the show's second day.

The new(er) footage starts out attempting a more stealth style. It doesn't last for long.

The Old Blood is a prequel to Wolfenstein: The New Order, set in 1946. Across the two-episode standalone expansion, BJ returns to castle Wolfenstein, and, by the looks of things, hits many people with a pipe. It's due out on May 5.

You can see the first day's footage below.

Guild Wars 2 trailer announces The Dragon's Reach: Part 2

Those damn dragons, always up to their dragon tricks.

Those damn dragons, always up to their dragon tricks. If they're not hoarding gold or flying in circles near an ice-topped mountain, they're threatening to awaken and envelop the world in their evil shadow. You don't get unicorns pulling this shit.

Continuing on from last week's chapter, Guild Wars 2's next update escalates the threat posed by Elder Dragon Mordremoth. In The Dragon's Reach: Part 2, players will need to secure an uneasy alliance in preparation for a summit of world leaders. Kind of like real-life politics, only there's a dragon.

As well as the new story chapter, this update will further expand the season's new zone of Dry Top. Expect new enemies and more sand.

The Dragon's Reach: Part 2 goes live 12 August.

Wolfenstein: The Old Blood announced

Wolfenstein: The New Order was one of my highlights of last year, and so it's good to hear that we'll soon be getting more of it.

ROW Sniper

of last year, and so it's good to hear that we'll soon be getting more of it. Bethesda has just announced Wolfenstein: The Old Blood, an expansion-sized standalone prequel that sees Blazkowicz return to the titular castle.

" The year is 1946 and the Nazis are on the brink of winning World War II. In an effort to turn the tide in the Allies’ favour, B.J. Blazkowicz must embark on an epic, two-part mission deep within Bavaria. Part one of Wolfenstein: The Old Blood—Rudi Jäger and the Den of Wolves—pits BJ Blazkowicz against a maniacal prison warden as he breaks into Castle Wolfenstein in an attempt to steal the coordinates to General Deathshead’s compound. In part two—The Dark Secrets of Helga Von Schabbs—our hero's search for the coordinates leads him to the city of Wulfburg where an obsessed Nazi archaeologist is exhuming mysterious artefacts that threaten to unleash a dark and ancient power."

The trailer looks like heaps of campy fun, and reveals the humble pipe to be 2015's emerging weapon of choice.

Wolfenstein: The Old Blood will be out for PC on May 5, and will cost £15/$20.

Saints Row: The Third's The Trouble With Clones DLC released today, welcomes back Johnny Gat

Johnny Gat makes his triumphant return to the Saints crew today in The Trouble With Clones, Volition's latest piece of mission-based DLC for Saints Row: The Third. See why the great Gat's resurrection may be more trouble than it's worth in today's DLC launch trailer: The Trouble With Clones was released today for download on Xbox Live Arcade, PlayStation Network, OnLive, and Steam; although it has

Guild Wars 2 fan video is superbly edited, unbelievably cheerful

I sometimes forget how much time, effort and heart people will dedicate to a single game.

I sometimes forget how much time, effort and heart people will dedicate to a single game. Where I'll skim the ocean of my Steam library—fully aware that I'll one day drown—others live happily on the island of their chosen hobby. That dedication and belonging spills out of these games, too. There's fan art, fan videos, and yes, likely some questionable fan-fic. There's something joyous about that, especially when—as is the case of this amazing Guild Wars 2 fan-made video—it's backed by a catchy pop song.

The video warns of Living World – Season 1 spoilers. Of course, given that there is no possible way to go back and play that season, it probably doesn't matter.

Over at Kotaku, where I first saw this, the video's creator, Gen Kim, appeared in the comments to explain the unusual choice of musical backing.

"My aim was to bring out the mass, pop-based appeal hidden in GW2," Kim writes. "I wasn't interested in setting stereotypical "epic fantasy" orchestral music. I went for a theme that contrasted visually rather than compared. I would say right off the bat that the song evokes lightheartedness and enjoyment of life, which fits with much of Guild Wars 2's gameplay and general atmosphere."

I actually agree. Guild Wars 2 is, at its heart, a game about cooperation and working together. There's an optimism to its story and setting—of triumph through pulling together. There is a pop vibe to proceedings—one that can sometimes tip into the unbearably saccharine. Of course, it probably just helps that I like the song.

The video is cut from various trailers, cutscenes and in-game videos. It's quite the impressive feat of editing. More importantly, it's just... nice. The whole thing makes me feel warm and happy. Gaming, both as a hobby and an industry, can sometimes feel bogged down in cynicism and empty hype. We could all use a little more sincere celebration.

Gen Kim's other GW2 video is more heavily focused on the game's first season of updates. As such, it gives off a slightly slower, darker vibe, if you prefer that sort of thing.

Mass Effect 3 arriving one week early... from space!

Want to play Mass Effect 3 one week before everyone else? Better pack an umbrella. EA announced it will be attaching physical copies of BioWare's forthcoming sequel to weather balloons and letting them dropping them from atmospheric heights over densely populated areas in North America and the UK. Jokingly referred to as Space Editions, the packages will be augmented with GPS devices which fans can

We have five thousand Wildstar trial keys to give away

You there!

You there! Are your next seven days not filled with an expansive and enjoyable MMO? Don't worry, we can fix that. We have 5,000 Wildstar trial keys , and we're literally giving them away. The keys—which are redeemable from Tuesday, 29 July —will give you a full week of Wildstar access, up to a Level 20 cap. Don't worry, that still means a trial period packed full of questing, Adventures, Dungeons and more.

The keys have all been taken. Those that successfully claimed one should be getting their email soon.

How do you redeem the key? First, if you don't yet have one, create an NCSoft account.

Log into your account using the official WILDSTAR website. Click "APPLY A CODE" on the red banner near the top of the page. Enter your personal serial key and click Apply. If you receive a success message, you're good to go. If not double-check the serial key is entered correctly. Download the client by clicking “Download Game” in the Account Summary box.

Remember: keys can be redeemed from Tuesday, 29 July, and they must be activated by Sunday, 3 August. Also, Wildstar is rated PEGI 12+.

For more on Wildstar, check out our review, or see below for Carbine's introductory trailer.

Mass Effect 3 demo drops in on February 14

Mass Effect 3 is only a few months away, crashing into your living room and slapping you in the face on March 6, but you'll be able to get your hands on the game much sooner than that. Today, BioWare confirmed that a demo for the game was due out next month, landing on February 14 and granting access to a large chunk of the game that the developer claims will give players a glimpse into the scale of

Warcraft's story has been condensed into a 40 minute video

Here's something for every MMO player who likes to vacuum up quests without reading the mission text: a 40 minute video summarising the bulk of Warcraft's story.

Here's something for every MMO player who likes to vacuum up quests without reading the mission text: a 40 minute video summarising the bulk of Warcraft's story. It covers the series' main timeline, from events depicted in the old RTS games, to the evolving lore of World of Warcraft. It's the perfect guide if you want to catch up ahead of Warlords of Draenor, or if you just want to know why you beat up a demon guy that one time.

The video was created by "Nobbel87", and is the latest in a full and lengthy seriesdetailing Warcraft's lore.

The one thing it doesn't explain? Why Blizzard were showing off bra-wearing cow-people.

CES 2012: Unit 13 preview - the bite-sized handheld shooter

While other games such as Resistance and Uncharted aspire to compress a console game into the handheld experience, Unit 13 - developed by SOCOM developer Zipper Interactive - is doing the exact opposite. Instead of aiming for heavy narrative, Unit 13 is trying to be the perfect game for, say, playing while you wait for an oil change. The game offers both single player and co-op and stretches across

Blizzard reveal WoW: Warlords of Draenor's new Tauren women, could maybe have left their clothes on

There are few things more disturbing than a cow wearing a bra, and Blizzard just made me look at a whole bunch of them in order to write this news post.

There are few things more disturbing than a cow wearing a bra, and Blizzard just made me look at a whole bunch of them in order to write this news post. Upcoming World of Warcraft expansion Warlords of Draenor is giving the MMO a bit of a graphical overhaul - I mean, just look at how slightly differentthe Draenei will look in a few months' time. Now it's time for the Taurento go under the knife3D modelling programs, and it seems Blizzard have made them a bit more human. WoW's resident cow-people will boast a bigger range of facial expressions, more detailed hair and hooves - as it turns out, this makes it extra creepy to see them strolling around in a bra and pants.

Here's WoW's senior art director Chris Robinson explaining the new look: "The original female Tauren had a lot of issues with too-angular geometry and stretched-out textures. It's not her fault—it's just what we had available to us at the time. Our new process has allowed us to add a lot of detail to her hair, fur, horns, and hooves, to build a far more detailed and expressive face, and to add a lot of definition to her musculature (while retaining her shape and silhouette)."

They also made the Tauren female's arms a little shorter in the process. Here's a bunch of images:

...

Jump to Section: Best Price Comments Pros Using magic in the LEGO universe Collecting additional characters The LEGO version of the story Cons Theres nothing new Targeting can be temperamental Resisting the urge to collect every single stud If you have played any of the other LEGO games you already know what to expect with LEGO Harry Potter: Years 5-7. Set in the LEGOfied wizarding world, the newest

We're giving away thousands of Wildstar free trial keys on Monday

We found a lot to love in Carbine's bright, characterful MMO, Wildstar, when we reviewed it a short while ago, and there's a chance you might too if you take part in our upcoming key giveaway, which will go live on Monday July 28.

On Monday you'll have a chance to grab one of 5,000 trial keys, which will give you access to Wildstar for a week from Tuesday July 29—that's plenty of time to level up to the trial cap of 20, enjoy the starting areas and experiment with the game's classes. The giveaway post will go live during the afternoon, UK time, whereupon you'll have a chance to grab a key, which you'll be able to redeem on the Wildstar site when the free trial period kicks off on Tuesday.

Here's an introduction to the world of Wildstar to whet your appetite.

I Am Bread introduces space combat

It's the fourth of May, so it's Buck Rogers day or something, I don't know.

I Am Bread Starch Wars

It's the fourth of May, so it's Buck Rogers day or something, I don't know. To celebrate the fact, Bossa Studios has released a free update for frustrating loaf simulator I Am Bread: Starch Wars.

Ahhh, it's Star Wars Day - now I get it! Beam me up, the fourth of May!

Anyway, the update - which you can get gratis if you own the game proper and have completed the first chapter - takes things in a slightly unexpected direction: up. Into space, actually. It's genuinely, actually, I-am-not-making-this-up, a space combat game. Look:

Bossa sent some words, too. Be warned, there are many awful puns in here: "Following the destruction of the petrol station, the remaining crumbs of the rebellious fleet have been intercepted as they head to the planet of all-dough-naan. A lone freedom fighter with the call sign bread leader picks up the distress signal and speeds to their aid. And yep, you guessed it; he's their only hope."

While a clever little addition to the game, it's a shame the original package isn't all that. It's not awful, but by no means is it as great as a game all about bread should have been.

Sublevel Zero creators on the perils and rewards of procedural generation

Procedural generation presents a big challenge for players and developers alike.

Procedural generation presents a big challenge for players and developers alike. The rewards of creating a game that can theoretically spawn an infinite amount of levels is obvious, but designing a system that can reliably create worlds and missions that are balanced, rewarding, and consistently engaging is easier said than done.

It's a fact the Sigtrap Gamesteam, who've spent the past 12 months working on their own roguelike(like) six-degree-of-freedom shooter Sublevel Zero know all too well.

Indeed, according to Phi Dinh, an indie-for-hire who helped Sigtrap founders Gary Lloyd and Luke Thompson bring Sublevel Zero to life, one of the biggest misconceptions surrounding procedurally generated games is that developers opt for that technique because it cuts down the amount of time they need to spend on level design.

That, says Dinh, couldn't be further from the truth.

"I think it's harder to create a good procedurally generated level than it is to create a linear level ," begins Dinh. "The reason developers do it is because we just love coding. The technique lends itself really well to programming, and using mathematics and algorithms to find new ways of doing things. You have different systems that come together, interlock, and create emergent gameplay, and that's what I really love about games that use this tech."

Dinh feels that procedurally generated content keeps devs honest. "With traditional level design you can hide things, and use smoke and mirrors to make levels look good," he says, "but with procedural generation you can't fake that. You can't hack it in. Every chunk, every piece that we put together, has to be workable from every perspective."

It's a numbers game


"With traditional level design you can hide things, and use smoke and mirrors to make levels look good. But with procedural generation, you can't fake that."

Sigtrap co-founder and lead artist, Gary Lloyd explains that one of the beautiful things about procedural generation is that it allows everyone to try their hand at level design. To iterate on the unknown.

"When we are designing spaces and chunks, they all have to work together," says Lloyd. "It's been a big learning experience for me, someone who's used to working on more linear games, because a big aspect of procedural generation is nailing that level design."

"I'm not really a level designer, but I feel like I can mock something up in 3D, put it into the game, stick it into the generator, and then iterate on that. That's been quite an interesting experience, working on a micro-level."

Like the explorers of old, developers stepping into the world of procedural generation have to adapt to survive, changing systems on the fly in the hopes that it'll all click at the very end. Sublevel Zero actually started out as a jam game, and if you looked back now you might struggle to recognise its humble beginnings.

"Particularly with the procedural generation, we were prototyping that for a long time," says Luke Thompson, Sigtrap's other co-founder and the studio's lead coder. "The iterative process we've had has meant that we didn't know how it all hung together at the very end. The combat for example--we knew it was polished, but we just didn't know how everything would balance out."

"With a procedurally generated game, it's difficult to know how these things are going to fall together until that last month of development."

One small step for man...

What does that mean for devs looking to harness the power of procedural generation? Simple: it means you need to start building your game as soon as possible, because there's going to be a lot of failure, a lot of mistakes, and a lot of time wasted. That, however, isn't necessarily a bad thing.

"We've had a couple of instances where we've built something that we think is technically amazing, and then it's been useless in the real world," says Thompson. "You have to get things out there, try them, and find out what you actually need ... not what you think you're going to need."

Thompson says that this approach bringsa certain freedom with it: "This is coming from a programming perspective, but one of the things I dread is the idea of scripting in levels--it's so one off. You just hack together some cheap little lines of code to make a certain trigger do a certain thing, and half the time it'll break later on and you'll have to fix it. I just hate that.

There's no room to hide when it comes to procedural generation, though. You either get it right, or you release a broken game.

"People perhaps sometimes see it as a shortcut, but it isn't. You're doing procedural generation, but you still have to be a level designer. There are cases where that's difficult, and the tech will throw a curveball at you because you can't control it to the nth degree," continues Thompson.

"Procedural generation is the programmers approach to game development."

Todd Howard earns Game Developers Choice Lifetime Achievement Award

Todd Howard of Bethesda Softworks will be honored with a Lifetime Achievement Award at the 16th annual Game Developers Conference in March.

Todd Howard

Howard's first credited game at Bethesda is the 1995 FPS Terminator: Future Shock. But 2002 is when things really took off, as he served as a designer, writer, and project lead on the revolutionary Elder Scrolls III: Morrowind. After that came Oblivion, Fallout 3, Skyrim, and, most recently, Fallout 4—all of them tremendously successful blockbusters. He even has a hit mobile game to his credit: Fallout Shelter, which climbed to the top spot on both the App Store and Google Play just days after release.

“The Elder Scrolls and Fallout series present gamers with fully realized worlds filled with vast landscapes, and mystery at every corner. We’re proud to honor the visionary developer for his leadership in creating these universes,” Meggan Scavio, General Manager of GDC events, said in a statement. “When you’re completely captivated by these detailed worlds, it’s easy to forget the level of dedicated work and creativity that went into every square inch. This award reflects on the amazing craft of Todd Howard and his team in making worlds as real as anything on Earth.”

Previous Lifetime Achievement Award winners include Will Wright, Yuji Naka, Gunpei Yokoi, Mark Cerny, Eugene Jarvis, Richard Garriott, Shigeru Miyamoto, Sid Meier, Hideo Kojima, John Carmack, Peter Molyneux, Warren Spector, Ray Muzyka, Greg Zeschuk, and Ken Kutaragi—esteemed company all around. Howard will be presented with the award at the Game Developers Choice Awardsceremony, taking place on March 16 at the Moscone Convention Center in San Francisco.

Jump to Section:Best Price

Comments
Our Verdict
More game than you might expect, but still best played for an audience.

NEED TO KNOW

What is it Punny YouTube bait with a decent game on top. Influenced by Let’s plays, game jams, delicious toast
Reviewed on I7 960 @ 3.61GHz,& 6GB RAM, HD 4870 X2
Alternatively Surgeon Simulator
DRM Steam
Price £9.99 / $12.99
Release Out now
Developer Bossa Studios
Publisher Bossa Studios
Link Official site
Multiplayer No

My ex boyfriend had a problem with bread. He had a vendetta against bruschetta. He said no to dough.

Living with someone on a low-carb diet, my intake suffered too. Since that relationship ended, I’ve been making up for lost time with bread: eating it, baking it, and now—thanks to Bossa Studios—playing as it.

I just want to stress the extent of my obsession, so you’ll realise how significant it is that for a moment I am Bread made me reconsider my lunchtime sandwich.

You control a series of self-propelled slices of wholemeal bread that want to be toast, an ambition that’s never explained but I can only assume is something to do with longevity; I always turn to the toaster at the stale end of a loaf. Most levels are a room in a house owned by a guy who leaves his stuff everywhere and apparently plays Jenga alone. In each, you have to get your slice to something hot enough to toast it, preferably evenly.

Along the way, you play ‘the floor is lava’, except not lava, germs. An ‘edibility meter’ at the top of the screen begins at 100% and diminishes every time the slice comes into contact with what the game considers unsavoury: the floor, water, ants on the countertop, etc. Unfortunately, the homeowner is a pig; he even has nail clippings on his pillow.

This is an uncomfortable game for somebody with germophobia, especially when surfaces I’d never touch with my bare hands in real life—toilet seats, bins—don’t impact edibility at all. The first time I saw my slice crawling with ants, I felt sicker than any game has ever made me, and I recently watched a friend play through all the fatalities in Mortal Kombat X.

The first time I saw my slice crawling with ants, I felt sicker than a game has ever made me

Not everyone is as delicate as me, but I am Bread has other ways of causing pain. Like Surgeon Simulator, it’s no easy rise. I mean, ride. (Sorry.) The analog stick (or arrow keys, if you really hate yourself) alone will only nudge the slice along in short jolts. To make decent progress, you need to use the powerful grips on each corner, one per button, to flip or fling it greater distances. It’s fiddly, but maybe that’s realistic. Maybe that’s why my bread never goes anywhere.

In this world, bread is super powered. Its grip is strong enough for vertical ascent up walls and fridges, and each slice has enough heft to knock over chairs, swing open cupboard doors, or smash open jam jars to bathe itself in contents sticky enough to let it rest and recover its grip even on vertical surfaces.

Unfortunately, in this world bread can also spasm into unrecognisable shapes at inopportune moments. It can knock over a skateboard in an attempt to ride it across a room only to glitch through it and end up pinned to the filthy floor.

Those risks are particularly frustrating when performance is scored with a grade based on time, edibility, and the evenness of the toast. The first time I got an F I was indignant and sought redemption, but when I realised how long it would take to improve I gave up and used the magic marmalade that appears after a few failed attempts and makes you invulnerable to inedibility.

I also gave up because I wanted to see the new locations, one for each of the seven days of story mode. Despite many reused assets, as the guy moves his possessions from room to room, each level has something new. Only the kitchen has a toaster; the other levels have multiple alternative solutions to discover. In the garden I managed to light a match to use on the barbecue only to discover the flame was toasting the slice itself.

The story kept me going too, told in therapist reports before each level. It’s dark and gets darker, which is a delightful juxtaposition with the cartoony graphics, comical animation, and irritatingly jaunty music.

Once you’ve completed the story, free play is available across all seven locations with four kinds of bread. Each also has its own mode to suit its movement style: a race through checkpoints for the bagel, a destruction mode for the baguette, and a cheese hunt for the cracker. Cheese Hunt is the most interesting: the search encourages exploration rather than the shortest route, and since crackers lose edibility through breakage rather than dirt you’ll change how you play.

None of these modes has much longevity, but that’s okay. With its ever-present suggestion to take screenshots, this is clearly a game meant to be shared for laughs, built for YouTubers and streamers. I might put it on to show friends, but I probably won’t sit for hours trying to perfect my score. Like puns about baked goods or any kind of food stuffs, it’s good fun for a while, but you should probably quit while you’re a bread.

The Verdict

I Am Bread

More game than you might expect, but still best played for an audience.

We recommend By Zergnet

The Elder Scrolls Online video preview: a quick tour through a dungeon quest

The recent press beta weekend for The Elder Scrolls Online left us concerned about the game's mix of Skyrim-like action and MMO-like mechanics.

The recent press beta weekend for The Elder Scrolls Online left us concerned about the game's mix of Skyrim-like action and MMO-like mechanics. Phil criticized the combat, while Evan and I lamented the lack of explorationin the game's early areas. But just saying that we're worried isn't enough—it's better to show than tell, with this video of a typical TESO dungeon delve.

In the video, I picked a quest for our level 8 Khajit Dragonknight that involved exploring a crypt with an NPC. It's a closer look at how combat feels while playing TESO, and how the game's quests often flow.

The Elder Scrolls Onlineis out on April 4.

I am Bread impressions: watch us become toast

Bossa Studios' follow-up to Surgeon Simulator , I am Bread, might be even more frustrating than Surgeon Simulator.

, I am Bread, might be even more frustrating than Surgeon Simulator. I am a piece of bread, and movement is similar to Octodad, except I have no limbs, so I'm just flopping around by latching onto surfaces by my corners. The goal is to become covered in good stuff—butter, jam—while avoiding edibility-reducing surfaces such as the floor. Eventually, I must become toast.

Being bread sucks. It's painfully challenging to get used to the controls, as you'll see in the video I recorded. And that's the point, of course—it doesn't mean I don't like it. I put over seven hours into Surgeon Simulator, because once I accepted how ruthlessly my patience would be tested, I made a sort of game of that. How long can I go before I crack?

The bread animation is great, and there are actually more decisions to make than "should I throw my controller against the wall now or later." There's a lot of freedom, really—multiple paths and many techniques to discover. Flopping end over end can be the most efficient way to travel, but can be worryingly fast. Spinning my floury body around to leap over gaps is especially fun (when I hit my landing, at least.) I might be looking forward to watching other people play more than playing myself, as I'm sure the speed runs will be fantastic.

I'm most disappointed that I am Bread doesn't feel as funny to me as Surgeon Simulator, at least not yet. It's absurd and silly, but the antics of a slice of bread just don't get me quite like awkwardly shushing a sleeping patient and then dropping one of their lungs on the floor. It actually has strangely sad undertones, and that could turn out interesting later on. I didn't expect to be curious about the plot of a game starring a slice of bread, but hey, I kind of am.

I am Bread is on Early Accessnow, so it's not quite complete, but the developer plans to release it within a few months. There are more levels and bonuses coming, they say, as well as leaderboards, achievements, and the expected bug fixes. The only thing I noticed on the latter front were some issues with the menu. It could also use remappable controls—I found the mouse and keyboard controls unusable as they were, though that may just be the nature of the game.

The best way to tell if I am Bread is for you is probably to watch someone else struggle with it, and decide "Do I want clutch my forehead as if my car just broke down on the way to the airport, causing me to miss a funeral?" That's kind of the feeling I got, but there are good times, too. The video above should give you an idea.

How feedback from eSports pros improved a casual matching game

Intropy Games is an indie studio consisting of a husband and wife.

is an indie studio consisting of a husband and wife. Lisa Walkosz-Migliacio likes cute things, Michael Migliacio is heavily into eSports, and they wanted to make a game that lives at the intersection of those two interests.

They madea matching game that recently launched on Steam after appearing on WiiU last year. It has an adorable astrological aesthetic, as well as a wickedly addictive two-player versus mode.

Before launching it, the Intropy team put the game in front of professional fighting game players and asked them to test its balance. We asked about how feedback fro, this unlikely group improved the game.


When you say the game was made "with eSports in mind", what exactly do you mean?

We're not trying to evoke League of Legends or Street Fighter , but rather communicate to prospective players that the game was balanced with competition in mind.

My husband, who worked on the game with me, is actually a writer for a major eSports team ( Evil Geniuses), and spends a lot of time working on competitive game analysis. This helped when working out how each constellation would play differently from a competitive angle and we spent a lot of time discussing various options and trying things out in the engine.

If you want to see the balance of your competitive game's demo broken to bits in the span of a few seconds, no group does it better than the fighting game community. There's a reason why fighting games (and other competitive types of games) go through so many location tests.

During the development of the game, we took it around to various competitive gaming events (mainly in the fighting game community), including Combo Breakerin Chicago, where we received additional feedback and balancing data prior to release from major figures in the arena including Adam "Keits" Heart (lead designer of Killer Instinct ) and Dave Lang (head of Iron Galaxy Studios). The game was also featured as a competitive title at Red September, a fighting game tournament in the southern US, last year.


"If you want to see the balance of your competitive game's demo broken to bits in the span of a few seconds, no group does it better than the fighting game community."
What were some of the big "Oh, no!" moments you had, watching fighting game players try to leverage as much advantage as possible out of your games?

Someone found the need for a balance tweak almost immediately in the early build of the game we were showing off. When we took it to Combo Breaker, we had literal professional fighting game players who opened our eyes after a few minutes of higher-level, rapid-fire play.

Players there raised on the likes of Puyo Puyo and Super Puzzle Fighter II Turbo showed that a player could get into a state where they could limit the other player's input window by setting up large combos consecutively, halting the receiving player from setting up a counterattack.

Also, Adam "Keits" Heart of Iron Galaxy Studios mentioned after a few matches of play that he felt a lack of "satisfaction" when breaking large groups of spheres. We took these suggestions and went back to the lab, and after a few tweaks, had a much better build of the game.

We made spheres shatter one-by-one instead of in large groups. In doing so, we provided a precious few seconds for the player receiving the massive attack from their opponent to react, and eliminated the balancing issue that shortened the window for player input during large drops.

These small changes not only made the game better balanced, but also made the gameplay more satisfying during tense matches.


How did the feedback from demos at casual gaming events differ from that at the competitive events?

Casual players are far more comfortable with a mouse than a controller. We decided the game needed to use as few buttons as possible, and some players preferred using the stick over the directional pad (and vice-versa). The two buttons we selected were "face" buttons that are clearly easy to see if you looked at the controller, not hiding away on the edges like the RT or RZ buttons (I still sometimes can't remember which one is which myself)!

The controller scheme is so easy that when I went to Japan to show the game at Tokyo Game Show, I was able to relay in 5 seconds all the information they needed to know how to play despite knowing just a few phrases and random words in Japanese.

The easier to pick up and play, the better.


"Feedback is a tricky thing, because other developers want to tell you how to fix things instead of stepping back and seeing an issue for what it is."
How did you go about arranging to get feedback at gaming events? Did you arrange it officially or unofficially?

Both, actually. Some events, like Casual Connect, Tokyo Game Show, and Combo Breaker were arranged, but we also showed the game at local and regional events on an impromptu basis as well.

Feedback is a tricky thing, because other developers want to tell you how to fix things (usually to be like other games they're already familiar with -- "Make it like Game X instead") instead of stepping back and seeing an issue for what it is.

I agree with game design series Extra Credits that the best group from which to get honest and unfiltered feedback on a gamein development is a bunch of kids that don't have preconceptions about gameplay elements, but they seem to be a hard group to track down at events!

Either way, find the issues that make the player frustrated, and think about solving those problems -- rather than listening to suggestions on how to fix your game while demonstrating at events.


What mechanics did you consider but ultimately decide to cut?

Power-ups, comeback mechanics... We relied on tactics used by a bunch of games that have come before, such as added hints during story mode that you might want to try out a new constellation, giving tips in a tutorial video, and having the different traits for each constellation show up if you press a certain button while on the character select screen.

It sounds like eSports was and still is more your partner's thing rather than yours. What have you, personally, learned about eSports and competitive play over the course of developing the game that you didn't know or hadn't considered before?

I've been watching EVO and fighting game streams for several years now, and even attempted to get into playing BlazBlue a while ago (my character of choice was Rachel, in case you're curious). The problem with fighting games and many competitive games in general is that they require years of practice. If you don't have years of experience or tons of hours to burn learning all the different moves, counters, reversals, and other mechanics, it's basically impossible to catch up and enjoy playing with the group.

It's funny seeing the divisive conversation going around right now about the gameplay of Street Fighter V becoming more accessible to draw in new players that could have otherwise been easily overwhelmed.

The high level play in any fighting game, however, is insanely fun to watch. You see massive audiences of people all jumping up and down, cheering, "getting hype", intensely focused on the ongoing match, moment by moment.

I wanted to think of a way to be able to recreate this same feeling at more casual events, bringing in that feeling of "hype" so often found at fighting game events to a new audience who would never experience it otherwise. Puzzle games have rule sets that most people can figure out in a few minutes at most, as opposed to the years it often takes for the average fighting game, so it seemed like a fun thing to try out. A relatively recent experiment: last year's Red September fighting game event in the US played host to the first ever Astral Breakers tournament. Did the audience get hyped? Oh yes. Yes. They did.

The Elder Scrolls: Legends is a F2P strategy card game

The Elder Scrolls: Legends is not a follow-up to Skyrim, but instead a free-to-play strategy card game.

a follow-up to Skyrim, but instead a free-to-play strategy card game. Announced at Bethesda's E3 press conference today, the free-to-play title will release for PC later this year and that's the announce trailer above.

More to come when we know more.

I Am Bread is one slice's epic quest to get toasted

Surgeon Simulator developer Bossa Studios has announced its next project, and it's both completely unexpected and about as strange as you'd expect: I Am Bread, an emotionally fraught tale of one slice's quest to become toasted.

The "first look" video indicates that players will use a controller to interact with the four corners of a slice of bread, maneuvering it around a household environment, and the Twitter accounthints that "Toasters aren't the only way to toast bread." Beyond that, however, we really don't know anything about I Am Bread at this stage, including what platforms it's being developed for.

That doesn't preclude us from bringing it to your attention, however. For one thing, it looks exactly like the sort of silly ridiculousness that's most at home on the PC. It's also a really funny trailer, especially around the 45 second mark. Am I seeing what I think I'm seeing?

Bossa's descriptionof the game is great, too: "The beautiful story of one slice of bread's epic and emotional journey as it embarks upon a quest to become toasted."

This will presumably not be a "big" release, and in fact Bossa refers to it as its "latest game jam title," suggesting that it's something the studio put together over a weekend and a few gallons of coffee. Even so, it looks like it could be a lot of fun. We've reached out to Bossa to confirm that a PC release is in the works; no release date has been announced.

Behind Falskaar, a massive new Skyrim mod, and the 19-year-old who spent a year building it

We love Skyrim mods .

. A new, noteworthy one for The Elder Scrolls V: Skyrim, Falskaar, was released over the weekend, and it is quite a doozy. Falskaar adds almost 25 hours of content, a land mass a third the size of the original game, new characters, new voices, and dozens of quests. As impressive as it is, though, it's nowhere near as impressive as the creative force behind it: Alexander J. Velicky, a 19-year-old gunning for a job with Bethesdawith his first try at modding Skyrim.

“I organized everyone involved, but the voice actors themselves recorded all the dialogue and submitted it to me,” Velicky told me. Though over 100 people contributed in some way, including composing an original soundtrack, Velicky took their contributions and plugged them into Falskaar himself. “I had some people help me out with a few models and textures, someone wrote a book or two for me... But otherwise all content was implemented, written and developed by me.”

So how does a 19-year-old take the helm of a creative project of this size? Velicky wants a job. He graduated from high school over a year ago, and instead of finding a design school, he turned Bethesda's Creation Kit into his classroom, spending 2,000 hours over the last year building Falskaar.

“[My dad] was incredibly supportive and allowed me to live here, paying for living expenses and charging no rent,” Velicky says. “I was able to not go to school and not have a day job. Meaning, more or less, that Falskaar was my day job.”

The mod is fully voice-acted by 29 voice actors playing 54 characters (Velicky held auditions), and the quality is much higher than most community-made content. “I'm still kind of shocked at some of the talent I got on the project... and every single one of them surpassed my expectations by leaps and bounds.”

A massive dungeon, “Watervine Chasm,” may be Falskaar's crowning achievement. It took Velicky three weeks to build and players report it takes an hour or two to complete. The community response has been overwhelmingly positive.

“Falskaar isn't perfect,” Velicky says. “I'm not an expert who's been crafting game experiences for the last 20 years, so I certainly still have a lot to learn, and I always will. I'm always looking to learn and improve, and Falskaar was a huge chance for me to do this.”

According to Velicky, Bethesda is aware that he's out there, and he isn't shy about putting his goals right out on the table. “The best way to show Bethesda Game Studios that I want a job there and should be hired is to create content that meets the standards of their incredible development team.”

Falskaar is available now on Skyrim Nexus, and I encourage you to check it out. Have a gander at our list of the 25 Best Skyrim Mods, too.

Inside the Dota 2 International 2013

This article was written in late August 2013 and originally published in issue 258 of PC Gamer UK.

This article was written in late August 2013 and originally published in issue 258 of PC Gamer UK. I've been thinking about my experience at The International 2013 since watching Valve's Dota 2 documentary, Free To Play. As a companion piece to today's Three Lane Highway column, then, we thought we'd make the following available online.

It takes the five members of Alliance ten minutes to move around Benaroya Hall's curved mezzanine to the off-limits corridor that leads to their private balcony. They are surrounded at every step by fans, pushing up against windows and leaning over tables to sign T-shirts and mousemats. Their manager, Kelly, alternates between apologetic determination and abrupt for-the-camera enthusiasm as she attempts to shepherd five sudden celebrities into a single doorway.

“A lot of players that get a lot of fame tend to become assholes, to be honest,” Alliance captain Jonathan 'Loda' Berg tells me later. “I was a little bit like that when I was younger. It was something that I put a lot of thought into when we made the team – I said look, if this is going to work it's important that everyone stays down-to-earth. I think it's also a cultural thing. Swedish players are a bit different – we don't really take ourselves so seriously.”

It is Saturday, August 10, the penultimate day of The International 2013. The Seattle-based Dota 2 tournament boasts the largest prize pool in competitive gaming, and Alliance have just secured their place in the grand final. They are the favourites to win. They have played ten best-of-threes since the group stages and won nine of them 2-0.

A few hours ago the Swedes beat Natus Vincere (Na'Vi) in the upper bracket final, sending the Ukrainian-Estonian-German team to face Malaysia's Orange E-Sports at the top of the lower bracket. The three remaining teams in the tournament are guaranteed, at this point, $287,438, $632,364, and $1,437,191 respectively. Between $10,000 and $20,000 is considered a major prize in competitive Dota. When Alliance won Season 5 of China's G-1 Champions League, they pocketed $40,200. The seventh and eighth-place finishers at The International take more than that.

None of the players I meet seem concerned about the money. The answer I am always given is that it's simply not why they're here.

There is no physical template for a Dota professional. That can't be said for tennis stars or NASCAR drivers or hundred-metre sprinters, all of whom are separated from the audiences they entertain by equipment as well as by innate and acquired physical supremacy. In traditional sport, the wall between exceptional players and the rest of us is tangible. It is made of time, talent, money and muscle.

In e-sports the talent is invisible and the fame that results from it settles differently on every player's shoulders. The professionals milling around in the lobby of Benaroya Hall play the same game as everyone else, but they are shaped by it in a way that is specific to them. Specific, even, to their generation. The youngest player at The International is 17, the oldest 29. There is no precedent in sport or elsewhere for what they do for a living, how long it should last or what it ultimately means.

In the private communal areas where players congregate they divide themselves by language, nationality, and a highschoolish network of friendships. Every player in the room is talented and hyper-competitive but they collectively fit no other template. There are jokers and serious young men who talk in low voices about 'the business'. There are troublemakers who drink until 4am and the players for whom competitive Dota was one branch on a path that also included traditional sport. It comes back to the competition. The International is the most important measure of a team's performance in a given year, and for each player it's an opportunity to be the best in the world at something.

So no, they'll say. The money doesn't matter.

The lower bracket final begins at noon on August 11. Orange are the last remaining Asian team and have dismantled two of the most talented Chinese outfits, TongFu and Team DK. Dota is huge in South-East Asia, but China traditionally overshadows the SEA scene on the world stage – until

The International 2013. Orange Captain Chai 'Mushi' Yee Fung is the most versatile player in the tournament, playing 18 different heroes over the course of a week. It's the kind of talent that earns deep respect from the audience, and it does not go unnoticed. In September, Mushi will announce that he is moving to China.

The first game runs long, but Orange are the playmakers. Mushi's Queen of Pain is dominant, his glass-cannon mobility matched by Weaver, Nature's Prophet and Nyx Assassin with Naga Siren as a safety net. They take the first game, but settle into a slower, safer rhythm for the second. Na'Vi pick up the Siren and Weaver for themselves, and, back in their comfort zone, end the game in less than 25 minutes.

The deciding match lasts more than double that. Long games of Dota are often resolved by single plays, usually crucial teamfight victories or successful attempts on Roshan, a powerful computer-controlled creep that drops an item, the Aegis of the Immortal, which grants a player a chance to respawn instantly in the field. Orange opt for the latter, but the moment Roshan falls a single miss-click by Lee 'kYxY' Kong Yang destroys the Aegis rather than claiming it. The line goes that it was the most expensive single click in competitive Dota, and afterwards kYxY is visibly devastated. He posts a Facebook update from his phone.

“Sorry.”

Na'Vi are loved by the crowd. It's hard not to love them, or at least not loving them feels like lapsing into the role of a stodgy police commissioner demanding his maverick star detective's badge and gun. They play loose, creative Dota and respect no law. Sometimes they win through staggering imagination and skill and sometimes they seem to surf a wave of luck and bravado. Either way, they win games.

Their captain, Clement 'Puppey' Ivanov, always appears to be about to smirk. He's known for his strategies and it is safe to assume at any given time that he is planning something. He is a constant presence in the lobby and at the signing table. In-game he takes a commanding support role assisted by Kuro 'KuroKy' Salehi Takhasomi with Gleb 'Funn1k' Lipatnikov in the offlane.

If Puppey is always on the edge of a smirk, then Danylo 'Dendi' Ishutin is perpetually about to smile himself inside out. Dendi and Puppey are questioned together before the grand final by Valve's backstage interviewer: Puppey answers questions in deadpan as Dendi leans closer and closer towards him, staring unblinkingly into the camera, responding to every query with the word “good.”

The team carry is Oleksandr 'XBOCT' Dashkevych. On paper, his job is to farm gold and experience in the opening stages of a match in order to give his team a powerful advantage later on. The first time I meet him he claims to be from Paris and also to be adult film actress Sasha Grey: you get the impression that there's somewhere else he'd rather be, and in-game this manifests as aggression above and beyond what is expected of his role.

It was Na'Vi that sent TongFu to the loser's bracket. They did it by using a trick called 'fountain hooking' – a combination of powers that sends an enemy flying into a 'friendly' safe zone where they are destroyed. It was hard not to feel for TongFu. They played well, but were forced to respond to tricks that are alien to the professional scene. But that's what Na'Vi do. They win games, and are loved.

In Benaroya Hall that love takes the form of a pair of pounding monosyllables: “Nah vee! Nah vee!” The only other teams that receive the same support are Dignitas and TeamLiquid, Americans and the de facto home side – and in their case, the chant is “USA! USA!” Na'Vi are what the crowd would want from an American team: they are confident, independent, and comfortably exceptional. Something of the generational quality of e-sports is expressed in the sound of a thousand Americans bellowing their support for young people whose parents grew up in the former Soviet Union.

Alliance wear slate-grey winter jackets with patches on their shoulders that make them look like ski instructors or an indie band that happens to be sponsored by a company that makes expensive mice. Loda pulls a short ponytail back through a trucker's cap and has grown out his stubble, presumably to indicate his veterancy. He has been part of the scene for almost a decade, and I ask him if he worries about his reaction times as he gets older. “I've just been waiting for the day when I feel like I'm starting to get worse,” he says. “But this year I feel like I'm actually improving. I guess when I go downhill I will stop, and I will look to do something else – but I will always want to be involved in the scene.” Loda is 25.

Alliance have been playing together for a year, with Loda as their carry. He has been friends with Joakim 'Akke' Akterhall since high school, and the partnership between the two is as old as European professional Dota. Akke and Jerry 'EGM' Lundqvist form Alliance's supporting foundations, providing the early-game advantage that enables the team's remaining two players, Gustav 'S4' Magnusson and Henrik 'AdmiralBulldog' Ahnberg, to establish map control.

S4 is the youngest player on Alliance and plays solo mid. The area between the two towers in the centre of the map is narrower than anywhere else, and the early laning phase is conducted with knife-fight pressure. It's a young man's game. “I used to play solo mid and when I got older I started to have too much respect for people,” Loda says. “As a solo mid, you can't have too much respect. You have to be fucking confident. You have to want to outclass them.”

AdmiralBulldog is regarded as one of the best Lone Druid players in the world. The hero is accompanied by a bear that uses its own set of items. Playing him well means acquiring a vast amount of gold, often in tricky situations, while effectively managing two distinct characters at once.

Alliance's style of Dota is sometimes described as conservative, but it's better understood in terms of efficiency and built-in redundancies. Their backup plans have backup plans. If Bulldog's lane collapses, EGM and Akke will buy him time to farm up elsewhere. If Loda, EGM and Akke are under pressure, Bulldog will knock down towers until the enemy is forced to respond. Alliance have the ability to both vanish off the map and be everywhere at once, and they are unflappable. If Na'Vi are freestyle kickboxers, then Alliance are patient masters of Judo. The way they approach training reflects this.

“Some Dota players are not honest with themselves,” Loda says, calmly. “When they lose games they point out each others' mistakes so they won't be the weakest link. I think it's very important to show that everyone is human – and Dota is a game where everyone makes mistakes, every single game. If you just realise that you will be not be so afraid. You'll focus on the big picture.”

The grand final is a best-of-five, and it begins with a mistake. The talk in the lobby is that Puppey has been holding something back. That 'something' turns out to be a bizarre draft of heroes that gambles heavily on winning the game immediately.

It's a disaster, and Alliance take them apart in 15 minutes. There is visible discomfort in the Na'Vi booth, and the crowd is subdued.

Na'Vi's comeback is resolute. Both teams respect each others' star players enough to ban their signature heroes instead of generally-feared characters like Batrider and Io. This means, unusually, that these heroes are played in every game – Na'Vi would rather deal with them than face Bulldog's bear, and Alliance feel the same way about XBOCT's Lifestealer. In game two, Dendi takes Batrider to midlane while KuroKy supports as Io, and Alliance are outmanoeuvred. The game ends a Na'Vi victory after 20 minutes.

Alliance try a riskier draft for the third. They get Bulldog his Lone Druid and pick up a tournament-first Ogre Magi, a character with a powerful buff that indicates a plan to double-down on the pushing power of the bear. They are not so much outdrafted as outplayed. The momentum granted by Na'Vi's quick win in the second game gives each player the impetus to play their hearts out in the third. Alliance tap out with 47 minutes on the clock. The crowd's response is simple: “Nah vee! Nah vee!”

It occurs to me that Alliance are suffering for having a name that is harder to chant. Those soundproof booths can block out the commentary team, but they can't block out a thousand stamping feet or those simple, pounding monosyllables. “Nah vee! Nah vee!”

Alliance are a different team in game four. S4 takes Night Stalker, a hero who is rarely seen in competitive Dota but who fares well against Puck – a strong midlaner that both S4 and Dendi have an affinity for.

Puck is a showman's hero, a grinning dragonling that can teleport, phase out of existence, pin groups of enemies down, silence them and escape to do it all again. The return of Alliance's confidence is visible. They play like Na'Vi, for a game, and for the first time an International grand final reaches a 2-2 stalemate. Benaroya Hall seems to contract around the teams on stage. Over half a million people are watching online.

Na'Vi start strong in game five. Dendi plays Templar Assassin, the hero that holds the record for the most kills in a professional game – his record. Puppey is on Enigma, arguably his best hero, and XBOCT's Alchemist has been a core part of every Na'Vi victory in the final. KuroKy's Rubick helped to win them game three and he resumes that role. Funn1k takes Batrider this time, almost for luck. The teams crash together in teamfight after teamfight, but Na'Vi have the edge.

Alliance have Io and Chaos Knight on EGM and Loda, a combination that is feared for its mobility. Bulldog is Nature's Prophet – like Io, a hero that can teleport – and Akke plays Crystal Maiden, a fragile support that helps secure early kills. S4 picks Puck, as if to prove a point.

It comes down to a killer push by Na'Vi. S4 tries to evade getting picked off by Funn1k but can't survive alone; XBOCT, Dendi and Puppey storm down mid and go straight for the barracks. They rush up the stairs into the base and take the third tower. S4 buys back into the game, but Na'Vi are unopposed: because Alliance are gone.

Na'Vi's killing blow sails in, and is met with air.

Bulldog teleports to top lane and starts knocking down towers. EGM and Loda head south to do the same thing. The Swedes trigger the backup plan to their backup plan, abandoning their own core – and a key hero, in Puck – to expose Na'Vi's ancient in a single move. S4 keeps them occupied until the point that they need to teleport back to defend. Then, he stops them.

As Na'Vi bunch up to port back, S4 leaps in and uses his ultimate to pin them down. The psychological impact is immediate. Na'Vi stagger and Alliance takes two sets of barracks. Orange's kYxY spent $350,000 on a single click. S4 earns $800,000 with another.

A last-ditch attempt at Roshan is Na'Vi's best hope at staying in the game, but they can't risk making themselves vulnerable. Alliance reform and charge for the throne.

Competitive Dota is a game of numbers, skill, ego and trust. Games are won and lost on momentum, on great tectonic power shifts that beyond a certain point are irreversible. Alliance have just reminded the world that it is also a game about defending an ancient.

They know they've won. Bulldog seems to be controlling his character by slapping the table and yelling. Na'Vi's ancient explodes, and game five ends. In one booth, there is a lot of jumping and hugging. In the other, Na'Vi remove their headphones.

Loda picks up the Aegis of Champions from its stand and lifts it into the air. He's shouting over the crowd, but from the back of the hall it's hard to tell what he's saying. It's something simple and monosyllabic, and it sounds a little like “Loda! Loda!” It would be un-Swedish of him to bellow his own name, but this would also be the time.

Photography by Philippa Warr.

Apotheon looks nothing like the last game independent developer Alientrap put out, Capsized -- that

title inhabited a verdant alien world, lush with detailed hand-drawn illustrations of the planet's exotic flora. This newest project more resembles the rash of silhouetted sidescrollers that have popped up in recent years, like Limbo , Insanely Twisted Shadow Planet , and Outland .

Apotheon makes ancient art work in a modern game

. But Apotheon stands out from that style by adopting an aesthetic that's hardly been explored in games, the "Black Figure" paintings that adorn ancient Greek pottery.



It's a striking look the Canadian studio might have never settled on if the team stayed with the project's initial concept: a cyberpunk, sci-fi-themed open-world game with some mythological trappings.

Apotheon started as "space Greek mythology" before the studio dropped the "space" part and realized classical mythology alone is a great source for stories that translates well to video games, which the God of War series can attest to.

"The Black Figure pottery art style seemed like a no-brainer after that," Alientrap artist and co-designer Jesse McGibney tells Gamasutra. "It's simple to animate, bold and easy to read, transitions great into a 2D platformer perspective, and perfectly meshes with the narrative and theme. We were honestly surprised that hardly any games have used this style before."

When you think about it, there are plenty of ancient art styles that have yet to be explored in video games. "You could flip to a random page in any art history book and find a goldmine of inspiration to draw on -- Egyptian hieroglyphics, Medieval tapestry, prehistoric cave paintings, Native American carvings," says the artist. "Heck, I would love to see a 3D game using crazy multi-perspective cubist Picasso paintings."
The limitations of an ancient art style"Pretty early on in concepting we realized that a totally literal adaptation of Black Figure art wouldn't work very well," McGibney admits. Most of the art in Black Figure paintings are character-centric, focusing heavily on the people and gods in the stories they're portraying, with little environmental representation beyond furniture or plants.

"Obviously, a big part of an open world game is the environments, so we had to expand the style to show buildings, caves, forests, and many other locations that are totally absent in the source material. We're trying to create a unified language through the use of patterns and geometric shapes that are common throughout all the elements," he explains.

Something else the team had to contend with is that the art on ancient Greek pottery tended to be very flat, with no backgrounds or overlapping elements, which doesn't make for visually exciting or readable environments in a video game.


The artist explains, "In order to make it work in the game world, things in the background are faded out and there are parallax layers further back. If we didn't do these things, the game world would be extremely sparse and boring. The background of Black Figure pottery is just... red."
Beyond black and redAnother problem with the art style is that Black Figure paintings typically have just two colors, black and red (though sometimes accompanied by white and darker red embellishments) -- a limited color palette that doesn't give video game artists much to work with.

To create more distinction between environments and their tone, Alientrap ended up introducing alternative palettes and lots of colored lighting to break up the monochrome. The default palette -- red, orange, and yellow -- for example, is used for outdoors and cities, communicating bright and warm environments. Apotheon's forested or wild areas use green, while cooler sections (e.g. underground areas) are presented in blue.

"Player communication is also very important, and it's really hard to do that with only one color," McGibney adds. "If all the characters were black, all the items were black, all the environmental elements were black, it would be very difficult to tell what was important and what wasn't.

"We added splashes of color to draw the player's eye and let them know what they're seeing at a glance. Enemies all have red in them, the player is green, health items are bright red, money is yellow, etc. The Black Figure style is a great starting point, but we're trying to be flexible with it where the gameplay experience is concerned."
Togas and animationAnimating an art style that's a couple of millenia old and was never intended for movement was actually pretty straightforward for Alientrap, considering. McGibney used a community-developed skeletal animation editor, and set up the game's characters and animals like paper puppets, with parts hinging on their joints.

He points out, "Most of the characters in the pottery are from a profile view, and occasionally straight on (no one had really figured out that whole perspective thing yet), so the movements are a pretty literal interpretation of the source material. Lots of guys running sideways on those pots."


But there were some challenges, the biggest of which was animating characters' clothing -- McGibney notes that many ancient Greeks loved wearing togas and long flowy capes, both potentially difficult to translate convincingly on an animated character.

"Some characters have big baggy 'skirts' built into their animation skeleton that can make convincing dresses or robes, but I still have to make a few design concessions when making new characters," he says. "Luckily, as much as they liked their togas, the Greeks seemed to like being butt-naked even more."

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