Interview: GamersFirst on bringing back APB

As reported last week, cops and robbers MMO APB has been bought by GamersFirst, who have announced that the game will return as a free-to-play game in the first half of next year.

apb

last week, cops and robbers MMO APB has been bought by GamersFirst, who have announced that the game will return as a free-to-play game in the first half of next year. We've had a chat with GamersFirst CTO and COO, Bjorn Book-Larsson about the next chapter for the troubled MMO, discussing the game's potential, the new features GamersFirst will be working on, and the reasons why APB failed in the first place.

PC Gamer: Why did you decide to buy APB?

Bjorn Book-Larsson: From our side we initially thought it was a really good concept. So from a distance we had said “hey, this seems like an interesting new title, it seems like there's a lot of customisation and user generated content features”, and we were interested in the game, on a professional level, from the outside. Then what happened was, we picked up the game because, from our point of view we think that it has a lot of really good critical components that can make a good foundation for a long term free-to-play project. The huge difference between free-to-play and retail sales is that with retail sales you have to make your numbers in the first 30 days, and in the free-to-play model you have the expectation and/or luxury of putting the game out there, and modifying it to match what people actually do in the game. For us we think that the game has a lot of really good features. It has a lot of customisation parts, and it has various innovative ideas and ways to expand the traditional shooter genre. The things that were problems, like the balancing, and the weird monetization methods are things that we feel pretty confident we can address, especially because we have about seven years of publishing experience in the free-to-play space. Drawing on all that experience, we're taking all the things we learned from all those other games and incorporating them into APB.

PC Gamer: What is it about APB that makes it suitable for a free to play model?

Bjorn Book-Larsson: Well, it already has a lot of components that we want in free-to-play. It already had an in game trading system so you can trade things back and forth, which is usually an important component to free-to-play experiences. It has very a evolved concept of “choose this side”. We have a game called Knight Online where we have two nations fighting, it has a lot of elements that we have seen be successful in free to play games. We don't think it's there yet, because one of the key things in a free-to-play game is that you actually have to make it fun and engaging for the free player, and then for those who do microtransactions and/or become premium members, or premium players by making a purchase, they have to have some slight benefit or advantage in the game, but you also still have to maintain the balance throughout the game so that the two types of players continue having fun, so there's a lot of that type of balancing that we have to work on to make it work, but we feel like it has the bones, the skeleton of a potentially really good free-to-play title, and we have to get there in the next six months or so, and then we can release it as a free-to-play title.

PC Gamer: You mentioned microtransactions and a premium service, what kind of items will players be buying in APB, and what would the premium service involve?

Bjorn Book-Larsson: There's many different models for the free-to-play games We have another game called War Rock. War Rock was a game made in Korea back in 2006, we launched it in the US and the world in 2007, so it's sort of a last generation game, but it has a lot of innovative ideas. Basically we're going to borrow some things from those types of titles, other games like Combat Arms, which we don't publish, but there's other games like that out there. One of the easiest things to do with this game would be to add leased weapons, so for thirty days you lease certain weapon types. Then for premium access you would essentially allow certain expanded features or complexities of customisation for those who are premium players, and those who are free players get less complex things included in the basic membership level. Beyond that, there's multiple ways to monetize free-to-play shooter games. The leasing method is probably the simplest and most straightforward. There's another method called the 'wear method' where you pay because your guns wear out, you have to repair them. There's another one that we generally refer to as the 'grinding and trading' method, which is more common in RPGs, and then there's another one called the 'insurance model' where you get to build stuff, but they blow up, and if they blow up you can have insurance to cover your losses, if you will. What's interesting about free to play is that there are a lot of financial models behind it that actually mimic real world systems, so you drive on the same real world motivations. The reason you buy insurance for your car is because you don't want to lose the whole thing. You don't necessarily pay subscription fee to have a car, you might have car payments for it, but you'll have insurance, so there's models like that which work in other games. What we're going to do is, initially, we won't go there across all those models. We're starting very simple, just adding the two core components that have worked well in our other shooters players, and that would be just leased weapons and premium accounts or premium services.

PC Gamer: Apart from putting in the new payment model, will you be making any changes to the mechanics of the game itself?

Bjorn Book-Larsson: Some. There's more balancing issues. One of the key issues the game seemed to have when it came out, what happened was, first of all you had to pay for game time, which was sort of weird. The second thing was, if you showed up in a game, because of their version of progression, if you got shot when you turned up in a match, you might be shot by a gun that you had no access to, because you hadn't gotten murdered for nine hours yet, so you didn't have the gun. I think that a lot of those things will remain, but now make more sense. If you're a free player and you don't want to buy the premium weapons then you can grind and eventually earn it, but you don't have to necessarily pay for that painful grinding process. I think they accidentally created was, in this game, you had to actually pay to grind, which is unheard of in the free-to-play space. Those kind of balances are the ones we'll focus on the most. There's a few other balances too, such as, for instance, individual gun balances, which we do want to modify, so things like gun ranges and the disparity between weapons actually has to be much less. We've found from other games that you want to have just a couple of percentage points of balance difference between weapons, otherwise it becomes essentially a slaughterfest one way or another. So there's various balance fixes like that, and then there's various small annoying things, and this may not be in the first re-release, but when you run up to a car you often accidentally end up in the back seat, which is a little surprising! There are rare situations where you would probably want to be in the back seat, but 80 or 90 percent of the time you want to be drivers seat because the car's empty. I think the original designers were very concerned with some purity of design which may have gotten in the way of the gameplay.

PC Gamer: Why do you think APB failed on its first release?

Bjorn Book-Larsson: I think part of it of course was that it was such a huge investment. I mean, the expectations were huge, and therefore when it didn't start paying off in the first month or so it was almost doomed on its own expectations. I think it actually had the potential in the long term to potentially work, and obviously we believe it'll work in the long term, but I think the hybrid retail subscription model that they had tried, for the mechanic they designed I don't think it was going to work, ever. In order to succeed with that mechanic you would have to really polish some of the core components in order to convince enough players to be a subscriber. If you look at other games like Eve Online, Eve Online started as a modest, much smaller game, and over time they grew it, it got more and more of a devoted fanbase, and it really took several years before it got to the level where it is today. I think that's the kind of game development structure they would have to keep in mind, like they should probably have considered going out with some sort of live beta, be in a live beta for a year or more, preferably with thousands of players participating in order to polish the game, in order to make it something that was sustainable. I don't think they had planned that in, it was more planned as a retail release with EA pushing a bunch of boxes everywhere. I think the issue there is that the traditional publishers haven't really yet – EA has experimented quite a bit with the digital distribution sales type stuff, but I think the free-to-play model is very hard for traditional publishers to predict, and if you don't do a straight retail or console title it's a very very long term, nefarious, difficult to predict process. I just don't think they had the stomach to go all out, which I actually think would have worked for them.

PC Gamer: Then the advantage of the free to play model is that you can have the game out there for a long time, have a lot of people playing it, and then update it as it goes on.

Bjorn Book-Larsson: Yeah. I mean, in fact, we'd say about 80 percent of the work may happen after the game goes live, so to some extent not a lot of work goes in initially, but we have games today that have really existed as games for as much ten years, and then they have as many as 50,000 simultaneous players even ten years after they initially were launched, so these are pretty substantial MMOs. I guess the concept is surprisingly simple, which is: in a free to play game, no-one will pay for it unless they have fun. Surprise! So the net results is that you have to spend all your efforts following users around, figuring out what it is they do that is fun, and then effectively focus on giving them more stuff in the areas where they spend most of their time, around the things that they prefer to do. Often we're surprised at what users actually do. We might design something because we think “hey, this'll be great”, and they don't even do it, but they find an alternate use of something we did, and they go off on a complete tangent and do stuff. I think being humble about the fact that as a designer you can't so much predict what users will do so much as throw out a lot of good ideas and hope that users latch on to some of them, and then you have to measure and measure and measure what people do.

PC Gamer: So player feedback will play an important part in APB's development?

Bjorn Book-Larsson: Yeah, I mean, as a company we're called GamersFirst, and the reason is our goal is to follow what gamers do and give them that. We've existed as a company for seven years and it's funny because we're not especially huge or well known, we're somewhat known, but it's one of those things where the velocity of this type of release cycle is that the game should last, and almost be a platform from which you launch a lot of different experiences. With War Rock for instance, we just launched a collaborative mode where you play with team members as opposed to trying to kill everyone else, and it was huge, it turned out there was a huge demand for that type of gameplay mode, so we're continuously doing that kind of work, and those are the kinds of things that we have to bring to APB as well.

PC Gamer: What new experiences do you want to add to APB as it develops?

Bjorn Book-Larsson: In the short term, obviously, a lot of things. It would be great if there was a way for clans or teams to have more collaboration, because right now you get thrown out in to a big city and it's a little bit tricky or difficult to pick encounters against other teams. If you think of things like the e-sports leagues that are out there in Europe, in War Rock for instance we have a lot of clan versus clan fights, so we do want to set up a method for those smaller groupings to stay coherent, because that kind of social dynamic will actually perpetuate the game much longer than an individual experience. I think if you look at the design of the game, it was very tailored towards an online individual experience to some extent, because you were thrown into a large group of people, but there wasn't really a direct mode for clans to take on another clan and be ranked against them, or there wasn't an easy way to do it, it wasn't central. I think that's one of the first things we'll do. We might accomplish that by adding some session based gameplay. There are a couple of maps that the original had already finished, so we might bring those out and let people join those smaller maps in some form of clan mode. There's other changes as well, there were some interesting concepts around the cars, there was some potential racing components that existed in the original code, so there are various experiences like that which are close at hand. I think, three to five years out, the goal would be to take advantage of the really cool customisation tools, and potentially build several different game experiences like this around the game. Because it already has a really solid social district, there's nothing really stopping us from allowing you to enter different worlds of engagement from that social district, not necessarily just the large scale San Paro financial districts, but you could go do collaborative gameplay, or a session based game, or some other kind of interactions using that same character that you've built.

PC Gamer: It sounds like you're taking hold of some ideas that were already in the code that Realtime worlds didn't implement, and using that as a jumping off point?

Bjorn Book-Larsson: Yeah, we're sort of trying to reuse what they had started with, but I think there are a lot of things that weren't even built in code which we're going to have to add, but obviously the first few months is really focused on consolidating on the things that are there. In the real long term, we're trying to envision: what if we wanted to launch multiple game experiences based on different user types? One of the things to keep in mind is that as a company we have about 30 million registered users, out of which about half are registered to play shooter games, so those users, quite a large audience, are ready, and we have a pretty good idea of how they behave and what they play. So we can tell you how many of those have signed up to play collaboratively as opposed to competitively within the shooter groups, so based on that we can tailor game changes to what it is that they want to do.

PC Gamer: So obviously there's a lot to be added to the game, is there anything you're taking out?

Bjorn Book-Larsson: Possibly we will try to reduce parts of the game. One of the issues is that the game client is quite large, so what we might look to do is try to create two versions of the client, one which is a smaller version, and one which is an improved version. Those are details to be worked out after the first batch of changes. We might have a starter pack, and then an enthusiast version for those who have the latest and greatest hardware.

PC Gamer: When the game comes out, are there any plans to gift items or services to players who have already paid for APB?

Bjorn Book-Larsson: We will try to accommodate those former players if we can. The issue is that of course the former players were distributed to by EA, and I know that EA has been giving refunds, and we're not really engaged with that process. It's a tricky question that we don't have an answer to yet, if there's a technical or even operational way to recognise all the former players then we will. If there's not, then some of them may have to start over, but at least we hope they can reclaim the characters that they created, but they'll have to create new accounts on our services in order to do so.

PC Gamer: So you do plan to let people take through characters they've already created?

Bjorn Book-Larsson: If possible, that's a huge caveat. Obviously, as you can imagine, since EA has been doing the distribution there has been a lot of somewhat unanswered questions around that. Once that gets worked out, which I actually think will take a little bit of time, we would probably have a solid answer at the end of this year.

PC Gamer: Thanks for your time.

Else Heart.Break() is out; here's a launch trailer

We've mentioned coding-focused adventure game Else Heart.Break() a few times on PC Gamer , so it only seems fair to tell you that, hey, it's just come out.

else heartbreak

, so it only seems fair to tell you that, hey, it's just come out. It's out on Steam, on GOG, and on the Humble Store, and you can still save a few bob if you buy it within the next few days.

What exactly is Else Heart.Break()? And is there a handy way to remember how to punctuate it? No is the answer to the second question, but as for the first, it's a game about a coder named Sebastian who's able to hack the colourful city environment around him. The colourful city environment around him looks a lot like a PS1 game, only in higher resolution and with fewer platforming geckos voiced by Leslie Phillips.

I mean, I'm sad about the second part, but the PS1's low poly look was great.

The devs say that Else Heart.Break() is a "reimagination of the adventure game – a fantastic story set in a fully dynamic and interactive world. Instead of rigid puzzles you will learn (with the help from other characters in the game) how the reality of the game can be changed through programming and how any problem can be solved in whatever way you find suitable."

Chrome extension creates custom Twitch highlights

Edit: Okay, so it turns out I've been living with my head under a rock for the past few months and there are already gadgets that let you grab Twitch highlights on the fly.

Twitch

Oddshotis one, and it captures a whole 40 seconds . Re-read my naive, wide-eyed encounter with new tech replacing "Plays.tv" with any stream capture of your choice—still cool!

Original: Here's a pretty trinket. The newly released Plays.tv Chrome extension lets you capture 30-second source-quality clips from Twitchstreams—any Twitch stream. I've dabbled in streaming and even with 10 people watching (blood relations all) you get requests for highlights that you acknowledge in a vague sort of way before forgetting all about because you've been going for eight hours and you can't remember what plane of reality you're on. Now viewers can do it themselves and neaten them up with rudimentary editing tools.

Considering how hard it is to get hold of the actual video files behind Twitch streams, it's a handy piece of kit. Clips are hosted on the Plays.tv sharing site, but while you can link your Twitch account and become some sort of almighty highlight curator, it's also content to sit quietly and be the Imgur for bits of Twitch. Look, here's a recording I madeof some guy having the time of his life in Darkest Dungeon. That it gives credit to the streamer is a nice touch—thanks, Fand42.

Here's a linkif that sounds useful.

else Heart.Break() video shows factory break-in mission

On the basis of its videos so far, else Heart.Break() appears to be the story of a guy who drinks out of any cup he comes across—regardless of whether or not he owns it.

On the basis of its videos so far, else Heart.Break() appears to be the story of a guy who drinks out of any cup he comes across—regardless of whether or not he owns it. More importantly, I guess, is that its lovely PS1-era aesthetic is being used to drive a game with a consequence-based story and a focus on exploration.

Recently, we sawthe game's conversation system in action. Now we get to see object interactions—as main character Sebastian manipulates a factory's machines and computers. The level of detail is fantastic. Not everything seems to have a set puzzle purpose. In fact, much of the computers seem entirely mundane—giving Sebastian a chance to toy with them regardless.

I'm looking forward to this. Here's hoping the stated release window of "pretty soon" really is pretty soon.

Thanks, RPS.

Twitch finishes Punch Club in less than two days

We told you yesterday about Punch Club , a boxing tycoon sim/RPG that Lazy Bear Games and publisher tinyBuild promised to release ahead of its scheduled January 25 launch date if the Twitch hivemind could manage to finish it on stream.

“Twitch will most likely beat the game sometime within the next week, so you haven't got long to wait!” the studio wrote yesterday on Steam. And technically, that statement was accurate. But I'm pretty sure that "mid-afternoon tomorrow" isn't quite what anyone had in mind.

TinyBuild sounded legitimately surprised when it sent out a second announcement yesterday, just a few hours after the first, saying that Twitch had already managed to get through nearly 60 percent of the game. “What's remarkable is now organized the Twitch chat is playing Punch Club,” CEO Alex Nichiporchik said. “They're playing at the speed of an average player, which caught us by complete surprise. They are using all of the advanced tactics a normal player would, researching skill trees and figuring out what works for specific fights.”

And unlike "people," the Twitch collective doesn't need to eat, sleep, or catch up on The Expanse, and so it was able to power through the entire thing in a mere 36 hours. More than 70,000 people took part in what tinyBuild said was “probably the most organized Twitch Plays event so far," with a “steady thousand” playing at any given time.

The launch announcement included a brief breakdown of Twitch's adventures in Punch Club, which I took as a joke until I checked Steam and saw basically the same story, preceded by a spoiler warning. It's fairly minor as spoilers go, though, and I think it does a good job of summing up the true nature of the game. So, with fair warning, this is how Twitch found fame, fortune, and justice over 167 days in Punch Club:

“Within those 36 hours, Twitch got a girlfriend, and made some bad decisions along the way that made them end up in prison. From there, they proceeded to sell uranium and take drugs to rank up in the Prison Leagues and make their way back to freedom.”

Well done, folks. Punch Club, as promised, is out now on Steam.

Gaikai founder blames OnLive's PC focus for its demise

OnLive , as you may have heard, is dead.

onlive

, as you may have heard, is dead. For real, unlike the last time, its corpse chopped up into little bitty pieces and buried—or, more precisely, sold off to Sony. It was just a few years ago that Sony acquired Gaikai, OnLive's one-time competitor in the streamed gaming space. And Gaikai founder David Perry has a few thoughts about what went wrong.

Perry described OnLive as "a heck of a competitor" in a recent, and said that it was "very worrying" that virtually every significant choice OnLive made was different from Gaikai's. Particularly with regard to platform: OnLive was a PC-centric service, but Gaikai felt it was too problematic to effectively support.

"PC games (for keyboard and mouse) were becoming really difficult to get running across a myriad of TV’s, Phones, Set-Top-Boxes, and websites from the cloud, especially as a lot of great games are no longer supported by anyone, even their publishers have disappeared," Perry wrote. "You probably were not aware that we had to modify the PC games in realtime, hiding legacy buttons, icons and features that no longer made sense etc. It was a nightmare."

Gaikai felt that consoles would be a better fit for streamed games because of their standardized hardware and control schemes, a philosophy that was validated when Sony came along and threw $380 million at it. OnLive, meanwhile, went through some restructuring, laid off some employees, took on new leadership, and stuck with the PC.

"Again their games group stayed focused on PC gaming and at Gaikai we knew just how difficult that was to maintain," Perry wrote. "After two more years of trying to source and onboard PC games they have finally closed their doors."

I'd always assumed that inadequate infrastructure would be the downfall of streaming game services, so it's interesting to read that platform variations were actually such a big problem, especially since "runs on anything" universality was one of OnLive's big selling features. But it did actually express interest in moving to consoles: In late 2011, well ahead of Sony's acquisition of Gaikai, OnLive UK chief Bruce Grove told Eurogamerthat he would "love to have" discussions with Sony and Microsoft about integrating the technology into their consoles, and said it actually had OnLive running on a PlayStation 3, before Sony killed Linux support.

Punch Club will launch early—but only if Twitch can beat it

Punch Club is billed as a retro-styled “boxing tycoon management game,” but there's a lot more to it than simply guiding the career of the next Great White Hope.

Punch Club is billed as a retro-styled “boxing tycoon management game,” but there's a lot more to it than simply guiding the career of the next Great White Hope. When you were young, you witnessed the brutal murder of your father, and now it's time to uncover the truth. Eat chicken, train hard, and chin dudes as you climb the ranks of the Punch Club, with the ultimate goal of learning the identity of the man who killed your old man. It sure sounds interesting, and I'm really looking forward to trying it. But it turns out I'll have to wait until Twitch beats it first.

Punch Club is currently being played on the TwitchPlaysPunchClubchannel, with viewers voting on what should be done as the game progresses. Train or fight? Go to the gym or grab some lunch? Weights or speed bag? Rest or KILL HIM? The whole thing is clearly modeled after TwitchPlaysPokemon, but with higher stakes: Developer Lazy Bear Games says it won't release Punch Club until Twitch manages to finish it. If the viewers can get to the end of the game tomorrow, it'll come out tomorrow. And if they get sick of it and give up, well, you'll always have your memories of the pre-release Steam page.

Actually, you'll still get to play the game, you'll just have to wait longer. If Twitch can't or won't finish it (which seems unlikely, given the evident enthusiasm of the 1000+ people currently “playing”) Punch Club will go live on January 25. For now, it's available for preorder for 20 percent off its regular $10/£7 price.

TERA gets into the spirit of Halloween with new trailer

http://youtu.be/qefGWJO7sY8
EnMasse has released a new spooky themed trailer for their upcoming MMO, TERA.

EnMasse has released a new spooky themed trailer for their upcoming MMO, TERA. In the style of a Grimm Fairy Tale, the video tells a story of a young woman who find trouble after venturing into the woods. While the video doesn't show off a lot of new content, it does feature a few of the games more TERA-fying creatures. I wonder if that shape-shifting hag will be a boss? She better hand out candy.

Papers, Please and Gone Home take BAFTA Awards, Houser brothers make rare appearance for Rockstar's Fellowship

I'm not going to sugar-coat this for you: last night's BAFTA Game Awards didn't end with the PC hunched under an unbearable weight of face gold.

didn't end with the PC hunched under an unbearable weight of face gold. The platform struggled against heavy hitting console match-three games, like The Last of Us, and Grand Theft Auto 5. Even so, there were awards for indie gems Papers, Please and Gone Home, and multi-platform titles like Bioshock Infinite. In addition, the reclusive Rockstar heads showed up in person to accept their BAFTA fellowship. You can find that video, and a full list of winners, below.

Also, before the big list, be sure to check out the BAFTA Steam salethat's running until later today. There are some particularly great deals in there, like the excellent XCOM: Enemy Within for a ridiculously low £5/$7.50.

BAFTA FELLOWSHIP

- Winner: Rockstar Games

BEST GAME

- Winner: The Last of Us

- Assassin's Creed 4: Black Flag

- Grand Theft Auto 5

- Papers, Please

- Super Mario 3D World

- Tearaway

ACTION AND ADVENTURE

- Winner: The Last of Us

- Assassin's Creed 4: Black Flag

- BADLAND

- Grand Theft Auto 5

- LEGO Marvel Super Heroes

- Tomb Raider

STRATEGY AND SIMULATION

- Winner: Papers, Please

- Civilization 5: Brave New World

- Democracy 3

- Forza Motorsport 5

- Surgeon Simulator 2013

- XCOM: Enemy Within

MULTIPLAYER

- Winner: Grand Theft Auto 5

- Battlefield 4

- Dota 2

- Super Mario 3D World

- The Last of Us

- World of Tanks

SPORTS

- Winner: Fifa 14

- F1 2013

- Football Manager 2014

- Forza Motorsport 5

- Grid 2

- NBA 2K14

FAMILY

- Winner: Tearaway

- Animal Crossing: New Leaf

- Brothers: A Tale of Two Sons

- Rayman Legends

- Skylanders SWAP Force

- Super Mario 3D World

STORY

- Winner: The Last of Us

- Brothers: A Tale of Two Sons

- Gone Home

- Grand Theft Auto 5

- Ni no Kuni: Wrath of the White Witch

- The Stanley Parable

GAME DESIGN

- Winner: Grand Theft Auto 5

- Assassin's Creed 4: Black Flag

- Papers, Please

- Tearaway

- The Last of Us

- Tomb Raider

DEBUT GAME

- Gone Home

- BADLAND

- Castles in the Sky

- Gunpoint

- Remember Me

- The Stanley Parable

ARTISTIC ACHIEVEMENT

- Winner: Tearaway

- Beyond: Two Souls

- BioShock Infinite

- DEVICE 6

- Ni no Kuni: Wrath of the White Witch

- The Last of Us

GAME INNOVATION

- Winner: Brothers: A Tale of Two Sons

- Grand Theft Auto 5

- Papers, Please

- Tearaway

- The Stanley Parable

- Year Walk

AUDIO ACHIEVEMENT

- Winner: The Last of Us

- Battlefield 4

- BioShock Infinite

- DEVICE 6

- Grand Theft Auto 5

- Tomb Raider

ORIGINAL MUSIC

- Winner: Bioshock Infinite

- Assassin's Creed 4: Black Flag

- Beyond: Two Souls

- Super Mario 3D World

- Tearaway

- The Last of Us

MOBILE AND HANDHELD

- Winner: Tearaway

- BADLAND

- DEVICE 6

- Plants vs. Zombies 2

- Ridiculous Fishing

- The Room Two

BRITISH GAME

- Winner: Grand Theft Auto 5

- Tearaway

- The Room Two

- LEGO Marvel Super Heroes

- Gunpoint

- DmC Devil May Cry

PERFORMER

- Winner: Ashley Johnson (Ellie - The Last of Us)

- Courtnee Draper (Elizabeth - BioShock Infinite)

- Ellen Page (Jodie - Beyond: Two Souls)

- Kevan Brighting (The Narrator - The Stanley Parable)

- Steven Ogg (Trevor Phillips - Grand Theft Auto 5)

- Troy Baker (Joel - The Last of Us)

BAFTA ONES TO WATCH AWARD

- Winner: Size Does Matter

- Project Heera: Diamond Heist

- The Unknown

Download TERA tonight, play it free all weekend

TERA's launch is less than two weeks away, and the developers of this heavy action-combat MMORPG are eager to stress test their servers to make sure it goes smoothly.

TERA PVP 3

TERA's launch is less than two weeks away, and the developers of this heavy action-combat MMORPG are eager to stress test their servers to make sure it goes smoothly. So they're opening up the floodgates to anyone that wants to try out the game before its locked behind a subscription fee on May 1. But you still need to know the password to get in—we've got full instructions inside.

To access the open beta event that goes from April 20 at noon PST to April 23 at 11:59 PM PST:

1. Log into your En Masse account on their official site. If you do not have an En Masse account yet, you should create one first.

2. Click the Enter Code button on the right.

3. Enter the open beta test code: TERABETA

4. Click the Submit button.

5. Click the Download Game button under the Account Overview tab.

6. This will start downloading the game launcher.

7. Once it's downloaded, run the launcher to install the game so you'll be ready to go when the servers open tomorrow at noon PST.

Not convinced you should care? TERA has the most twitch-intensive combat I've ever played in an RPG MMO. Everything has to be aimed like a shooter and being good requires fast reflexes and quick movement. Playing it's sniper-like Priest class is also the most fun I've ever had as a support/healer role in a group. That said, the game does have some elements that many people on this site and the official forums have found really off-putting, such as the art style and world design. So this is definitely a game that you want to try before you buy to see which camp you fall into. If you dig the art style and love the intense combat, this could be your favorite MMO of the year, so give it a chance while you can still check it out for free.

New job postings drop more hints about Bioshock developer's next game

In case you're in the market for a kickass new game dev job, this is your PSA to say that the studio once known as Irrational is hiring !

Levine

! You will be working on a game that will probably have A) shooting and B) a story. Given that this is what remains of the studio that created a couple of Bioshock games under Ken Levine’s creative direction, those things should come as no surprise. What might be more surprising is a tidbit of info under the Gameplay Systems Designer and Tuner role requirements. The team is looking for someone with “experience in a semi-open (e.g. Borderlands/Shadows of Mordor) or open world game.”

Now, to build a fortress of theories from those sand grains. Are we set to see a Levine-y first-person narrative game collide with the contiguous, systematically driven nature of an open world? Maybe. Based on Levine’s previous ramblingsabout endless narrative systems, perhaps this open world will have a never ending or infinitely replayable story, somehow woven into an open world’s interlocking pieces. Or not.

Presumably all will be revealed at some indeterminate point in the future. For now, we're left to ponder an unnamed game from a yet to be named new studio. What are you waiting for? You have a resumé to polish.

Thanks, Polygon.

See what you're up against in latest TERA fly-through

We've got the exclusive look at creepy, spider-filled Arachnaea, the latest zone being revealed for TERA--the action, fantasy MMO coming out later this year from En Masse and Bluehole Studios!

TERA final 02 big

Tucked inside the caves of a dreary forest, Arachnaea is a massive stone caven filled with creepy poisonous gas-spewing spiders and their gross breeding grounds (complete with wriggly sacs). These aren't your normal spiders, either--they're being summoned by sinister priests in service of the evil goddess Arachne. To make matters worse, the massive spiders (arachens in TERA terminolgoy) raid nearby towns for meals and sacrificial offerings on a regular basis, and there's not much that can stop them. The video shows signs of a few adventurer camps inside the caves, but all of them look deserted. Watch the short video below for a full look of the zone!

(Arachnophobes, watch with caution.)

BioShock news is imminent, according to this 2K Games teaser

When most of Irrational Games was laid off earlier this year many assumed it was the last we'd see of BioShock, at least until 2K Games mustered the courage to have one developed by a secondary studio ala BioShock 2.

BioShock 2. Nonetheless, it would appear something BioShock related is about to happen, because 2K Games posted this teaser image (above) on its official Twitter accountearlier today, along with the text: "Oooo, what COULD this mean?!".

What's a scantily clad woman with an apple got to do with BioShock? Well, in dark lettering at the bottom of that image is a reference to Poseidon Plaza, which is a prominent location in the original BioShock. The reference seems to indicate that we might see a repackaging of the original game in the not-too-distant future. Whether that repackaging is relevant to PC owners is another question.

After all, it's unlikely the teaser is related to a brand new BioShock game. BioShock Infiniteonly released last year and if there was a fourth BioShock game, surely it wouldn't return to Rapture? Surely ? In the meantime all we can do is speculate.

TERA Online video boasts action combat

The team at Bluehole Studios (yes, they call themselves Bluehole) sent over their compilation video of TERA footage shot during closed-door demos at E3.

The team at Bluehole Studios (yes, they call themselves Bluehole) sent over their compilation video of TERA footage shot during closed-door demos at E3. In addition to being "the first true action-MMO" thanks to its what-you-see-is-what-you-get combat system (as opposed to dice rolls determining hits and misses) this may be the only MMO that features both slutty elvesand adorable panda warriors.

Check the comments in about 15 minutes to see someone inevitably posting screenshots of another MMO that features slutty elves and panda warriors. Or slutty pandas.

Signs of life at Irrational Games with new job postings

Reports of the demise of Irrational Games were apparently an exaggeration, as the studio has posted job listings for two positions, one of them being a senior programmer familiar with Unreal Engine 3 and 4.

Bioshock Infinite Elizabeth

for two positions, one of them being a senior programmer familiar with Unreal Engine 3 and 4. Job listings aren't the sort of thing we normally pay much attention to, but earlier this year founder Ken Levine announced that he was "winding down"the studio in order to start something new and "more entrepreneurial" under the Take-Two banner.

The studio is currently seeking an IT Manager, who will "hold end-to-end responsibility for all servers, workstations, network infrastructure and applications," but it's the senior programmer position that I think is more relevant to our interests. The position requires experience "architecting and implementing AI and gameplay systems," and will "will work directly with the Lead Programmer, along with the Animation, Art and Design teams to create fun and interesting AI opponents and gameplay elements for our next title." The listing also notes that among many other desirable skills, "multiplayer experience is a plus."

There is of course no indication as to what Irrational's next project will be, but the fact that there will be one at all is interesting in and of itself because of Levine's apparent farewell to the studioin February. "I am winding down Irrational Games as you know it," he said at the time. "I’ll be starting a smaller, more entrepreneurial endeavor at Take-Two." He said he'd initially intended to launch his new venture with a "classical startup model," but Take-Two convinced him to pursue the project under its auspices.

Presumably the "as you know it" is the key quote from Levine. He didn't explicitly state that Irrational was done, although it certainly sounded like it, and many sites reported it as such. The first and foremost question at this point, then, is whether these job listings mean Levine's new operation is bulking up, or that Take-Two is bringing the famed studio back to meaningful life. We've reached out for more information, and will update if and when we receive a reply.

Lollipop Chainsaw's cast stars Batman, Smallville, and Walking Dead talent

We already know Lollipop Chainsaw will rock an off-beat aesthetic, but thanks to the newly released cast list, we now know its voices will match the visuals. Perk your ears as Michael Rosenbaum (Smallville's Lex Luthor), and Tara Strong (Batman: Arkham City's Harley Quinn) introduce the colorful voice talent behind Grasshopper Manufacture's next project. In case you zoned out during the montage, Lollipop

Former Irrational employees form new studio and ask, "What is The Black Glove?"

Game studios come and go, but few of them manage to put together a catalog comparable to Irrational's.

Game studios come and go, but few of them manage to put together a catalog comparable to Irrational's. So it was even sadder than usual when the studio closed its doorsearlier this year. But some small good may come out of that, as a group of former employees have formed a new outfit, Day For Night Games, and are working on an unusual first-person game called The Black Glove.

I like weird videogames, and so I like what I've read so far about The Black Glove, even though I still know virtually nothing about it. The game takes place inside The Equinox, according to GameSpot, a "surreal theater" where reality is never certain. Joe Fielder of Day For Night compared it to the "Black Lodge" from Twin Peaks, adding, "If we do our jobs correctly, it'll be unlike anything anyone's played before."

The studio is keeping The Black Glove under wraps for now, but details will be revealed in July when the Kickstarter campaign gets underway. Fielder said he thinks Kickstarter remains a viable option for indie game studios, and he also expressed confidence in Day For Night's ability to deliver on its promises. "It's a team that's had a lot of experience making games," he said. "I can say that in my experience as a producer, I can ensure that we make [game design choices] on time and on budget."

In the place of actual information, Day For Night posted three teaser images on its Twitter account, the most intriguing (to me, at least) being one that invites you to "lose your identity in the maze of the space minotaur." I don't know what a space minotaur is, but I do know that if your game has one, I want to check it out. We're now really looking forward to July.

Lollipop Chainsaw release date announced alongside new screens

Recommended The incredible story of Roman Wars: The lost Call of Duty game The 10 best PS4 deals available right now

Bioshock Infinite - Burial at Sea: Episode 2 to offer a non-lethal challenge through 1998 mode

Irrational may be "winding down" , but they still have one final flourish before bowing out.

, but they still have one final flourish before bowing out. Burial at Sea: Episode 2 is the final piece of Bioshock Infinite DLC, and will give players the chance to inhabit the tear-opening, coin-tossing Elizabeth.

As an example of how differently the game's new protagonist will play, Irrational have also announced a new mode for the game. 1998 mode, like BInfinite's 1999 mode before it, is a "classic" difficulty designed to recapture the spirit of late '90s challenge. Rather than 1999's System Shock 2, 1998 mode is referencing the original Thief: The Dark Project. It will require players to complete the episode through entirely non-lethal methods. It will also replace the entirety of the soundtrack with Will Smith's Just The Two of Us, and Aerosmith's I Don't Wanna Miss a Thing.

Okay, so it won't really do that last thing.

"In Burial at Sea – Episode Two we put a focus on balance and stealth mechanics," wrote Ken Levine, on the Irrational blog. "As we were developing this new style of gameplay, we started to see people self-impose non-lethal playthrough's. Given the fan reception of 1999 Mode, we thought it would be cool to give them another way to play Burial at Sea that challenged their mastery of stealth tools."

That sounds like an interesting departure for Bioshock combat. Stealth has never been a focus of the series, and a non-violent option has never before been possible. Especially in 2K Marin's Bioshock 2, where you had a massive drill attached to one of your arms.

In recognition of the mode, Irrational have produced a Thief-like mock box, from back in the days when game packaging could be a weird shape.

For our reactions to Irrational's closure, head over to our collective fond farewell.

Japan turns up the sexy for Lollipop Chainsaw's special edition with outrageous new costumes

Recommended The incredible story of Roman Wars: The lost Call of Duty game The 10 best PS4 deals available right now

BioShock Infinite's Columbia appears in the skies of Minecraft

What if Elizabeth tore open a rift, but instead of yanking out a crate of guns or a Gatling-wielding automaton, she withdraws a square-shaped chunk of grass before chucking it at your face with a "Booker, catch!"?

What if Elizabeth tore open a rift, but instead of yanking out a crate of guns or a Gatling-wielding automaton, she withdraws a square-shaped chunk of grass before chucking it at your face with a "Booker, catch!"? I'd sputter in confusion, but that probably also means BioShock Infinite's heroine found her way to the Minecraft-ed version of the floating city of Columbia. Constructed by architect group TheVoxelBox of the Planet Minecraftfansite, the city boasts superb detail and personality worthy of the game's best custom creations.

It's clear Columbia's builders focused on capturing each hovering platform's neoclassical feel right down to the giant propellers keeping everything in the sky and a bright palette reminiscent of Infinite's rich coloring. What's missing, sadly, is Elizabeth's towering, angel-shaped prison and a bunch of uncomfortably nationalist posters. Still, I can just imagine enjoying a freedom dog in the market district, a blocky Lutece urging me on from some shadowy corner: "Bring us the cube, and wipe away the debt."

Here's some more screenshots of Columbia in Minecraft from TheVoxelBox. Be sure to spot the Vox Populi airship looming above and the cheery storefront with the always-welcome "PIE" sign. The actual map file and schematic are also free to download and use.

Lollipop Chainsaw pre-order bonuses include Evil Dead costume and other items that aren't as cool

Recommended The incredible story of Roman Wars: The lost Call of Duty game The 10 best PS4 deals available right now

Jump to Section:Best Price

Comments
Our Verdict
Short but sweet a relentlessly imaginative adventure from Double Fine that never wears out its welcome.

They say it's what's inside that matters. For little Charlie Blackmore, what's inside can be anything from a proud pugilist to a seductive siren or a homeless tramp with a heart of gold. He may look like the runt of the litter, but in his world of bouncing matryoshka dolls, he is king – wielding the power to jump inside larger dolls, one size at a time. Every body he takes has its own ability, and he'll need all of them to rescue his kidnapped family, crush the ruthless Baron, and finally put a stop to his society's cruel child labour laws. Hmmph. So much for children being seen and not heard...

Stacking is one of the most adorable adventures ever, with a brilliant central gimmick and moment after moment to make you smile. Most importantly, while it's a short game, it's one that constantly encourages experimentation. If you want to just blitz through it, you can, and you'll be done in a couple of hours. None of its puzzles are difficult, and most are incredibly simple affairs where you just have to find a suitable doll to help you out, stack into a couple of intermediate ones to get big enough to hijack its life, and finally use its ability for something clever or just plain silly in a challenge area.

The twist is that each puzzle has multiple solutions, making the real challenge discovering the three to five other ways you could have solved them instead. Experimentation is what makes Stacking so much fun, not so much forcing you to play with its large cast of dolls as gently encouraging it: telling you how many solutions to look for, while still letting you move on whenever you like. You'll also find plenty of scope for hi-jinks that reward you for having fun with the various powers, such as slapping people in the face. Stacking never spoils your enjoyment by adding those pesky 'consequence' things. It's a pure comedy playset, there to be poked and prodded at your leisure.

Take the very first challenge. You need to get a train crew out of an exclusive lounge so that you can travel to the first proper destination, but the door is guarded – and unfortunately, by a guard who never turns his back on you so that you can simply stack into him. You can deal with this by finding an engineer to remove a fan in a nearby vent and sneaking in around the side, by finding a sexy, seductive, stacked-in-another-way doll capable of leading the guard away so that you can body-snatch him, or by combining the vent and a flatulent doll to create an impromptu gas attack. Later puzzles involve everything from stealing a mummy by jumping into it and simply walking away, to re-ordering several queues by jumping into a boxer type and punching everyone jolly hard in the face until they bloody well sort themselves out, the smelly oiks.

The only real issue is that while such easy solutions guarantee you can always stumble on the answer, after a while you start wishing for slightly more complicated puzzles that combine the dolls' abilities in interesting ways. Despite being stacked into several dolls at a time, you usually only need one of them to get past any obstacle, and usually with a single use of their special ability at that. Ticking off all the solutions is time-consuming, but never exactly difficult.

What Stacking lacks in challenge though, it more than makes up for in charm. It's a game that encourages you to mess around by leaping into a guy with a white glove and just smacking people in the face, and one that has no shame about featuring an army of noble hobos or a woman who farts potpourri. It may not be a very long game, but it is that rare breed of adventure that never frustrates while it lasts, and will keep you smiling like very few others.

The Verdict

Stacking

Short but sweet a relentlessly imaginative adventure from Double Fine that never wears out its welcome.

We recommend By Zergnet

Irrational Games: a fond farewell

Last week Ken Levine announced that Irrational Games as we know it is coming to an end.

Last week Ken Levine announced that Irrational Games as we know it is coming to an end. Most of the team are to be laid off as the studio that gave us System Shock 2, SWAT 4, Freedom Force and Bioshock shuts its doors. The world knows them as the Bioshock developers, but for PC players, they've offered much more. We gather to reflect on the end of a great studio and celebrate their output.


Tim Clark

Group senior editor

Having experienced several redundancies firsthand, I feel beholden to say that it will be a hugely traumatic time for those involved and that our first thoughts should be with them. Equally, having been there, I know that those sort of public expressions of sympathy, however well meaning, ultimately feel hollow and don't help you make the rent. But completely selfishly, as someone who plays and writes about videogames, who loved the original BioShock and—with minor caveats—also loved Infinite, I feel a sadness that we won't be any more visiting worlds cut from Irrational's cloth.

Whatever your issues with those games' themes and mechanics, in terms of pure art design there are few destinations in the canon as startling and memorable as Rapture's watery mausoleum and Columbia's star-spangled inferno. If you believe, as I at least partially do, Kieron Gillen's ideathat games writing makes us travel journalists reporting from imaginary places, then it's hard not to (selfishly) see the closure of Irrational as also being the destruction of worlds we'll now never get to explore.


Sam Roberts

Editor, PC Gamer UK

I think BioShock popularised the first-person shooter/RPG hybrid, non-cutscene storytelling and moral choices in games—that, to me, is Irrational's legacy, getting developers to rethink the presentation of story or the depth of their combat systems. System Shock 2 introduced much of what made BioShock special, but for many of those millions of players entering Rapture, this was an entirely new phenomenon that broadened their perception of what interactive narrative could achieve.

Infinite continued that, for me, and like BioShock explored the kind of mature subject matter that is rarely touched upon by triple-A games. That Infinite was contentious is fine with me—it's big, beautiful and incomprehensible, but worth talking about in a way that games so rarely are.

The people at Irrational have changed immeasurably over the years, of course, but what a legacy to have every one of its seven titles be lauded by players and the press. That moniker will always stand for quality. If you're mourning the studio, I recommend listening to the Irrational podcasts, which offer a fascinating cross-section of a studio loaded with talented people—it's a real sadness that this culture no longer exists, and I wish the very best to those affected by the closure.


Tom Senior

Web editor

"I am winding down Irrational Games as you know it," Ken Levine wrote last Tuesday. Whether or not the Irrational name lives on in Levine's new small new endeavour seems moot. This will be the end of Irrational's output as we know it. Console players will know Irrational as the BioShock developers, but we knew them first as the team behind System Shock 2 and SWAT 4. Their first game — a cyberpunk horror set in a drifting space hulk, complete with a manic rogue AI. Their last—a blitz through a collapsing society in a floating city. In between they made a great co-op friend-tasering sim called SWAT 4, and a superb superhero adventure—Freedom Force. And Tribes Vengeance. Man. It's painful to lose a studio with the imagination and boldness to build those worlds.

It's a sad fact that studios are downsized, moved and disbanded all the time, but Levine's message, in which he seems to take personal responsibility for the studio's downsizing, has made this a slightly unusual case. Overzealous corners of the internet jumped on the wording of the post in minutes. The idea of a great studio meeting its demise at the hands of an auteur gone mad is seductively simple, and travels well in 140 characters.

The real story is likely a more familiar one. The huge costs of blockbuster development continue to grow, and Infinite languished in development for many years. In the high-level staff changes, rumours of scrapped multiplayer modesand regular delays, there were hints at a fraught development process. In that scenario even millions of sales can deliver below-estimate profits. A few years back, 2K Marin were smushed into 2K Australia. Like any publisher, Take Two are happy to reform their brace of studios. But with Irrational breaking up, who will take over the Shock series?

It won't be Ken Levine. He's heading up a team of 15 to work on "highly replayable" games that are "narrative-driven." Perhaps he's taking notes from the success of former Irrational and 2K Marin designer Steve Gaynor and, formerly of 2K Marin, Karla Zimonja. With Johnnemann Nordhagen they founded the Fullbright Company, who turned around their narrative-driven debut game, Gone Home, in less than two years to critical success.

If market forces have put an end to Irrational, then the studio has suffered the same fate as Thief and System Shock developers, Looking Glass Studios. The parallels between the two stretch beyond their shared staff members. The design ethos that built System Shock has filtered into the BioShock games, and there's tremendous variety to the output of both studios. Irrational's demise is a blow, but those design ideas, and the flair and skill that went into the construction of the floating city of Columbia will continue to coarse through the industry, as the talent of Looking Glass and Ion Storm did in the 2000s. I'll remember them for the clinical blue-white corridors of the Von Braun, the disturbing scenes at the Fairfax residence in SWAT 4, and those tense first steps into Bioshock's lighthouse. We'll surely see flashes of Irrational's brilliance in many games to come.


Wes Fenlon

Features Editor

BioShock was a masterful maze of abandoned homes and once-thriving businesses, with the remnants of former lives told through scattered items and bodies and audio logs. It had personality, even when it was haunting. But nothing else in the game could compare to Fort Frolic, the weirdest, creepiest, funniest place in Rapture. It's easily my favorite level in BioShock, and one of the most evocative video game levels I've ever played. Sander Cohen's artistic presence permeates every corner of Fort Frolic—he made that part of Rapture his canvas, and he painted it with madness.

Later in the game, the showdown with Andrew Ryan is BioShock's big thematic reveal. It says something very direct about how we play games, and player choice, and the dissonance between our thoughts and actions. But Fort Frolic has a subtle, perfect moment of dissonance of its own, when The Nutcracker's Waltz of the Flowers begins playing and Cohen's horribly disfigured, beautifully acrobatic Splicer ballerinas come for your life. I was in awe, and completely freaked, as I ran from the Splicers, the music crescendoed, and Cohen yelled "Smile! Smile!" in the background.

The dissonance between the Waltz's beauty and the game's horror—that's the moment from BioShock that's going to stick with me forever, and it's on a shortlist of never-forget gaming memories for me. It's a shame that everyone at Irrational who collaborated to make that moment possible—artists and animators and writers and sound designers—won't have a chance to make another one together.


Phil Savage

Staff writer

It feels callous to look to the future when so many of the studio's staff will now be looking to secure their present. The thing I hope for is that, as Irrational's former employees move on to new things, the ideas and ambition that the studio strived to achieve will germinate throughout the industry. A lot of studios are going to be hiring some phenomenal talent, and I suspect a lot of new indie teams are about to appear as well. Both are an exciting prospect, because, while few development teams could boast the budget of late-era Irrational, the design-led philosophy has already paid dividends for smaller, more focused games.

It's telling that two of PC Gamer's favourite games of last year— Gone Homeand Card Hunter—had former Irrational staff among their teams. One provided an engaging, character-led narrative through atmosphere and exploration, while the other deftly weaved two genres into a inventive and satisfying hybrid.

There's been plenty of speculation about whether the type of games Irrational make have a future. Really, it depends on whether you associate them with sprawling spectacle, or systemic diversity. I'd argue that Irrational's strength—from System Shock 2 through to BioShock Infinite—has been in the latter, and in the way their systems filtered through to the story and presentation. Those lessons can be applied whatever sized game someone's making.

Whether from Levine, his former staff, or other developers who are inspired by their games, Irrational's legacy will be felt for a long time to come.


Cory Banks

Managing Editor

I want to be angry about Irrational Games. I want someone to blame. I could be furious at Ken Levine, the studio's creative director and head honcho, who authored the press release revealing that Irrational “as you know it” was going away. How dare he fire 90 percent of the studio's staff, just so he can make smaller games? Because surely it was just that simple, right?

Or maybe I blame Take-Two Interactive. It's been speculated that BioShock Infinite, Irrational's final game, took so long to make and had such a troubled development period that the game's $4 million in sales isn't enough profit for the bigwigs. Maybe, says the Internet, Take-Two decided to pull the plug on the beloved studio, and kept Levine around because he's one of the few "name" developers left. Because that's what corporations do, right?

Maybe I just blame the “dying” Triple-A videogame, or retail shops that charge too much for games and drive customers away, or any number of other variables. Would that make me feel better?

No.

The fact that Irrational Games is gone—at least as we know it—is sad, as is the fact that so many talented developers, engineers, producers, quality assurance testers, and other staff now face the uncertainty of knowing where their next paycheck is coming from. And I want to yell and scream and turn on Caps Lock and launch my fury out into the ether. But it won't help.

What does help, at least for me, is believing that Levine and Take-Two are doing everything they say to help the team that made BioShock Infinite find new jobs. So does remembering that talented people can move on and continue to make their art. And what will ease the immediate pain is going back to play the games that made me love Irrational in the first place: System Shock 2, Freedom Force, SWAT 4, BioShock. Instead of raging against the machines for transgressions I neither know to be true or even understand, I choose to remember and enjoy the games that will be Irrational's legacy. It's not the act of a revolutionary, but it's the best I've got.

Lollipop Chainsaw gets goth and expository in new trailer

Recommended The incredible story of Roman Wars: The lost Call of Duty game The 10 best PS4 deals available right now

Jump to Section:Best Price

Comments
Our Verdict
A great start for an adventure proud to have graduated from one of gaming's finest old schools.

A boy and a girl sit back-to-back in different worlds, neither knowing of the other's existence nor that they're linked by an invisible story yet to be told. Her name is Vella, stealing a brief moment to herself on the most important—and the last—day of her life. He is Shay: passenger, prince, and prisoner of an overprotective spaceship devoted to giving him everything he wants, except the freedom to finally grow up. Today, both face a rite of passage, and nothing will ever be the same again. But in a nostalgic way, at once familiar and fresh to anyone who fondly remembers point and clicking through the adventures of old.

Even before the game starts, there's a lot riding on Broken Age's shoulders—more than most Kickstarted games. It didn't simply have a successful crowd-funding campaign, though raising $3,336,371 so that Grim Fandango creator Tim Schafer could make a new adventure was nothing to sniff at. It was the crowd-funding campaign, the one that established that developers really could put fans in charge of their future—a landmark moment that directly inspired every other revival from Tex Murphy to Star Citizen. This comes with Expectations. While Broken Age isn't the first Kickstarted game to land, it's the one that most has to reward that initial faith. After all, it started a gaming revolution before it was even named.

Boy doesn't meet girl

You wouldn't guess any of this by playing it though, and that's for the best. It's not the greatest adventure ever made, but it's not trying to be. It's not self-important. It doesn't bite off more than it can chew in terms of style or storyline, unless you count shooting over budget and having to be split in half for the moment, which does admittedly deserve a sigh. It's happy to be traditional. Comfortable. It's the kind of game that warrants words like "nice" and "lovely" in completely genuine, non-ironic ways. It's about sinking happily into a bed of genre tropes made by a master of the craft, and being wrapped up snug and warm in gorgeous artwork, clever writing, and imaginative design that reminds you why you loved the genre in the first place. At least, this half is. Both are included with the purchase though, with this intro ending at an appropriate and suitably intriguing point that will do for the moment.

Broken Age's main gimmick is that you can switch between Vella and Shay's stories at will, though their puzzles and stories don't directly connect as you'd expect. They do however both complement and subtly contrast each other in clever ways, like both focusing on their character's need to break free of their childhoods and seize control of their fates. Vella's story however takes the form of a traditional, linear magical journey through a number of worlds, while Shay spends his trapped in one location that can be explored more or less at will—one more overtly built around the classic Three Trials puzzle structure—with multiple tasks to do in no set order. (In practice, Vella's story also repeatedly uses this, though with lots of simple tasks rather than three big ones.) Her world is a fantasy one, his a realm of science fiction, though a warped kind that almost justifies coining the term "nurserypunk." The list goes on.

Of the two, Vella's is the more dramatic tale—at least, so far. It's a twist on the classic folk tale image of maidens being sacrificed to appease dragons and other monsters, with the specific monster being a potential Elder God level obscenity called Mog Chothra that regularly descends on an event called the Maiden's Feast to indeed feast on maidens. It's a creepy situation made worse by the way the maidens openly drool over the prospect and fight to be lunch, with their families going so far as to dress them as cupcakes and other tempting treats as if they're off to prom rather than facing their doom. Only a single, guilty line of regret from Vella's mother and her grandfather's disdain for everyone's lack of fight suggests that anyone at all sees a problem with this setup, and even Vella herself is more or less okay with it—at least until Mog Chothra actually puts in an appearance and inspires her to try a new, smarter plan: bail, escape, find a way to kill the damn thing already.

Shay's spaceship world is more casual, but manages to be even more unusual. As a character, he reminds me of Adventure Time's Finn, only on the verge of clinical depression after a life of being cosseted by a computer so suffocating that it won't even let him go out in a spacesuit unless he remembers to put on a scarf. Every day is the same, being fed the same food and going on completely artificial "missions" designed for toddlers. An ice cream avalanche. Emergency cuddle deliveries. A spacewalk on a leash so tight, it might as well be to stop him running too far ahead in a garden. When he spontaneously allows himself to fail though, things change—the arrival of a mysterious and not at all suspicious-looking wolf stowaway giving him the chance to go behind his computer mother's back. Finally, he gets to go on a real rescue mission. All he has to do is sabotage the ship, and navigate it to a restricted part of space called "Prima Doom." Sounds lovely. What could possibly go wrong?

Adventure, Ho!

Both worlds are relatively small, but gloriously realized, with their hand-drawn look and a surprising variety of sprite animation, costume changes and characters. Each part of Vella's journey takes her to a different fantastical setting, including a cloudy realm where snow-shoes are needed to avoid sinking and falling to the ground, and her own baking town. Shay's meanwhile is a mix of high technology and nursery props — his bridge for instance just toys embedded into panels that he's long since realized do absolutely nothing.

The writing too is as good as hoped, with Schafer and any other writers on board managing to make light, bouncy dialogue and witty banter sound far easier than it actually is. Few side characters have much screen time, but they use it well. The standout on Vella's side is a furious tree driven to sap-spitting fury at the cruelty of man, to the point of turning a woodcutter into a paranoid recluse. On Shay's, the prize has to go to the always reliable Jennifer Hale turning in another excellent performance as Shay's virtual mother; an ever-smiling sun who is never anything but patient, unflappable, and absolutely devoted to keeping him safe from the dangers of the universe even if it literally drives him insane in the process. The whole cast does a great job though, with even the smallest characters bursting with charm and personality.

Rubik's button press

The one minor disappointment is that Broken Age doesn't offer much in terms of puzzles. It presents amusing ideas and fun results, but absolutely no challenge. Almost everything boils down to using stock inventory objects, and with only a handful of screens and objects, it's usually immediately obvious what needs to be done—even the more involved ones like taking a series of trips through a teleporter for reasons best summed as "don't ask" actively avoiding making it tricky. The result is that even taking time to savor everything, both stories can be easily polished off in just three hours without any real chance of getting stuck, or even getting one of those "Aha!" moments to self-five over embarrassingly.

The best classic adventures constantly found new spins on the formula, and Schafer and his fellow Lucasarts designers were no slouches at this back in the day—the physicality of Full Throttle, the freedom of the Monkey Island games, and the time warping of Day Of The Tentacle all coming to mind. So far, Broken Age hasn't even attempted to carve out something similar, though there's still time. I hope the second act has something clever in mind.

Whether that happens or not though, this was a good use of that Kickstarter money. Broken Age might not be close to the length and complexity of previous Tim Schafer games such as Grim Fandango and Full Throttle, or an instant classic like just about every Lucasarts adventure not a bad anagram of "Escape From Island Monkey," but it's still a fine reminder of them.

And really, that's what should have been expected. Those games were very much products of their time, and in specifically promising to be one rather than update the idea like Ron Gilbert attempted with The Cave, this was always going to be a celebration rather than a modern successor. As that premium-grade nostalgia trip though, it does a fine job. Like a reunion concert of a band you once loved, or a candy shop selling a particular brand of candy that brings to mind childhood summers of sun and sea and all that other cliched crap, Broken Age is a well deserved chance to remember the old days and realize that they're still closer than they might sometimes feel—even if the second part is a little further away than intended.

The Verdict

Broken Age Act 1

A great start for an adventure proud to have graduated from one of gaming's finest old schools.

We recommend By Zergnet

Irrational Games "winding down," Ken Levine starting smaller team within Take-Two

Today, Ken Levine announced that Irrational Games will be winding down as we know it after it releases the last piece of DLC for BioShock Infinite .

. Levine will be starting a smaller, "more entrepreneurial" endeavor at Take-Two, which also worked with him on the BioShock games. Unfortunately, this means Irrational will let go of all but 15 employees.

Levine co-founded Irrational Games seventeen years ago with Jon Chey and Rob Fermier. The studio has developed BioShock, BioShock Infinite, Freedom Force, SWAT 4, and others.

"Seventeen years is a long time to do any job, even the best one. And working with the incredible team at Irrational Games is indeed the best job I've ever had," Levine said in a message on Irrational's official site. "While I'm deeply proud of what we've accomplished together, my passion has turned to making a different kind of game than we've done before. To meet the challenge ahead, I need to refocus my energy on a smaller team with a flatter structure and a more direct relationship with gamers. In many ways, it will be a return to how we started: a small team making games for the core gaming audience."

Levine said that in time he will announce a new endeavor, which will aim to make narrative-driven games for "core" gamers that reward multiple playthroughs, that focus on direct relationship with fans, and dedicated to delivering digital content exclusively.

The laid off members of Irrational will receive financial support, access to the office to put together their portfolios, and offered opportunities within Take-Two.

Levine also said that Irrational will do its best to update the site with an FAQ.

Jagex announces Chronicle: Runescape Legends, a collectible card game due next year

Runescape developer Jagex will jump into the collectible card game scene next year with a new game called Chronicle: Runescape Legends.

will jump into the collectible card game scene next year with a new game called Chronicle: Runescape Legends. Set in the Runescape world of Gielinor, the game is played out on the pages of a "living book," which the studio says will allow players to "craft their own miniature RPGs" against computer-controlled enemies before striking out into PvP combat against other players.

The single screenshot released thus far has echoes of Blizzard's hit Hearthstone, a market that Jagex would no doubt like to tap into, but the promised focus on quest building and the appearance of virtual miniatures on the game board suggests it will have at least a few unique elements of its own.

"We’ve been quietly developing Chronicle: Runescape Legends since the start of the year to ensure that it’s not only a fun and compelling player experience, but one still very much interwoven into the rich lore of Runescape," Lead Designer James Sweatman said following the game's public reveal at RuneFest on October 11.

Chronicle: Runescape Legends is being developed for the PC, Mac, tablets, and mobiles, and is expected to be out sometime in 2015. Sweatman said more information about the game will be revealed "over the coming months."

Bioshock Infinite's Burial at Sea: Episode 2 trailer is intriguing, full of spoilers

Don't worry, I'm going to be very careful to avoid spoilers in this opening paragraph, just to protect those that stumbled here accidentally after a drunken night of unrestrained hyperlink clicking.

Don't worry, I'm going to be very careful to avoid spoilers in this opening paragraph, just to protect those that stumbled here accidentally after a drunken night of unrestrained hyperlink clicking. I've even gone so far as to choose the least spoilerful frame of this new trailer for the above image. Even so, spoiler: Bioshock Infinite's second story DLC will contain a gun. Sorry, I know you'd have preferred to discover that for yourself.

Well ain't that a thing?

From that brief teaser, it would seem that Elizabeth will be meeting some recognisable characters from Bioshock's pre-Infinite world. Moreover, a version of Booker that only she can see and here. It's a role reversal for the pair, but given that this time we'll be controlling Elizabeth, it's one that makes sense.

I spoke to Burial at Sea's producer Don Roybefore the release of Episode 1, and, while at that stage he wasn't prepared to go into detail about this second chapter, he did reveal the studio's motivation for the switch. "The one thing I will say is that she's very different from Booker," Roy said. "The exciting thing about doing that - the reason to do that - is to be able to see the world through her eyes. As we were talking through the possibilities, it became, 'well, we can't not do this'. It's what fans want, it's what we want."

Overall, I enjoyed Burial at Sea: Episode 1, mostly because I liked the scrappy, desperate combat that resulted from the lack of available resources. Despite that, it did feel lacking. It was, in all, just another fairly standard bit of Bioshock content, and, after the lavish opening third, not a particularly interesting representation of "fallen" Rapture. Hopefully the second episode, and its new protagonist, will help to liven things up, and create a compelling mystery out of its clash of characters.

Lollipop Chainsaw gives you awesomeness this Halloween in new trailer

Recommended The incredible story of Roman Wars: The lost Call of Duty game The 10 best PS4 deals available right now

Tales of Berseria is coming to the West

Bandai Namco is steadily coming to terms with the fact that if it gives us its Japanese games, we will give it our Western cash.

Bandai Namco is steadily coming to terms with the fact that if it gives us its Japanese games, we will give it our Western cash. Tales of Berseria hasn't been given a release date yet, but we know that it's coming our way. The fact that it doesn't have a Japanese release date beyond '2016' is especially interesting—could an entry in the Tales series be getting a simultaneous worldwide launch?

Technically, Berseria is coming to 'Americas', but Steam is mentioned specifically and its predecessor Tales of Zestiriais available in Europe, so I'm inclined to believe Berseria will follow suit. On balance, modder and PC Gamer contributer Durante called the Zestiria port a successwith the sorry exception of a framerate lock.

Tales of Berseria will follow Velvet, a 19-year-old pirate with a rather snazzy left hand, and it seems you'll need to reconcile your own gloomy persona with companion Laphicet's more cheerful leanings while battling people possessed of beast-like tendencies. It's classic JRPG stuff, and I'm glad to see it exported more readily.

BioShock Infinite - Burial At Sea: Episode 2 gets a spoilery behind-the-scenes video

Ever since Irrational Games announced that its BioShock Infinite downloadable content would take place in Rapture, fans have speculated about how the worlds in the BioShock franchise could be connected.

downloadable content would take place in Rapture, fans have speculated about how the worlds in the BioShock franchise could be connected. As we get ever closer to the release of Burial At Sea Episode 2, a new, very spoilery video starts to hint at answers—while showing off a whole host of returning characters from both Rapture and Columbia.

Seriously, spoilers ahead. You've been warned.

The video, billed as a "behind the scenes" look at Episode 2, shows the sheer number of characters—and returning voice actors—we can look forward to. Courtnee Draper returns as Elizabeth, this time as the lead protagonist that players will control. Troy Baker is also back, as Infinite anti-hero Booker DeWitt. But many of the original actors from BioShock 1 will return as well, which means you can expect to see Andrew Ryan and Atlas in your adventures through Rapture.

Most interestingly, actress Kimberly Brooks will return in Episode Two as BioShock Infinite's Daisy Fitzroy. How Fitzroy makes it from Columbia's reality to Rapture isn't shown, but it's big news that she factors into the game.

We also get our first glimpse of the first-person view for Elizabeth, specifically in a shot of her watching an Andrew Ryan video while holding a pistol.

Irrational Creative Director Ken Levine says at the end of the video that fans will feel a "sense of completeness" at the end of Episode 2. Will this be the end of the BioShock story? We'll have to wait until March 25, when Episode 2 of Burial at Sea is available, before we can know for sure.

Bombshell video shows ten minutes of raw gameplay footage

We've seen a few brief gameplay snippets of Bombshell , but now we've got a full ten minute gameplay video to sink our teeth into.

, but now we've got a full ten minute gameplay video to sink our teeth into. Formerly a Duke Nukem ARPG before Gearbox caught wind of it, all evidence suggests that the Duke DNA is still intact, only now the protagonist is a woman named Shelly “Bombshell” Harrison. See what they did there?

The video above was rolled out to coincide with QuakeCon, which is taking place right now. Bombshell is expected to release later this year.

The PC Gamer Show: guest Paul Neurath, Far Cry Primal

Welcome back to The PC Gamer Show , of our weekly livestreamed podcast.

, of our weekly livestreamed podcast. You can catch the show live on Tuesdays at 1 pm PDT on our Twitch channel, or after the fact at any of the links below.

This week we're be joined by legendary game designer Paul Neurath, one of the founders of Looking Glass Studios and a creative mind behind Ultima Underworld, Thief (the original), System Shock 2, and many more classic RPGs. We were also joined by Joe Fielder, Design Director at Neurath's current studio, OtherSide Entertainment.

DISCLAIMER: We ran into some unexpected technical problems during the livestream of the show, so the first 25 minutes or so of the podcast (and first 40 minutes of the YouTube video) has very inconsistent audio. We fixed it as much as we could, but we apologize for the inconvenience.

The topics:

What makes a great stealth game? The recently announced Far Cry Primal. The rampant cRPG revival we've seen lately. Undertale and its incredible Metacritic ranking. Viewer questions from Twitch chat. Audio problems galore.

Listen:

Watch it on YouTube(or in the player above)

Your flapping heads for this episode:

Tom Marks
James Davenport
Paul Neurath - CEO and Founder of OtherSide Entertainment
Joe Fielder - Design Director at OtherSide Entertainment

Event of the year: Bioshock Infinite

Welcome to the PC Gamer Game of the Year Awards 2013.

Welcome to the PC Gamer Game of the Year Awards 2013. For an explanation of how the awards were decided, a round-up of all the awards and the list of judges, check here.

Sometimes great games are released to the silent enjoyment of millions, others are lightning rods for discussion. They're talked about, turned over and examined for months, even years after release. Love it or hate it, Bioshock Infinite is one of those games, a shooter with too many ideas for its own good. Confusing, spectacular, controversial, its scope and absurdity ensure that it will linger in the popular imagination longer than its competitors. What better candidate for our Event of the Year award.

CHRIS Infinite is spectacular, grotesque, violent and sentimental. It's a shooting game about racism, America, grappling hooks, time travel and gospel music. Its schizophrenia is its biggest strength and its biggest weakness – I admire for it for its spectacular nonsense as much as I understand why people have a problem with it. There's been nothing like it this year, and I'm glad to have taken the journey.

CORY Whether or not you enjoyed exploring Columbia and its mysteries, you were certainly talking about it. Infinite's explorations of racism and religion angered some, but I still believe they were necessary to build a world that was beautiful on the surface but ugly underneath. I know some of us found the combat to be vapid, but I loved soaring over a Handyman's head on a skyrail, firing rockets and opening rifts that brought turrets to life.

ANDY Actually, I found the combat in Infinite a bit of a chore, but I still love it for taking me somewhere so wonderfully different. Emerging into that plaza for the first time after the church scene, and hearing Garry Schyman's beautiful 'Lighter Than Air', was a magical, transporting moment. Columbia is one of the most memorable places I've ever explored, and the anachronistic music one of many neat touches that punctuated the wonder with a feeling of unease; a sense of something sinister lurking beneath those cerulean skies. As a game it has a lot of problems, but as an experience it's unforgettable. And I liked the ending.

BEN Without wanting to sound overly dramatic, stepping into Columbia for the first time felt like entering heaven – both kingdoms of white and gold hanging like jewels in piercing blue skies (both, incidentally, ruled by crazy old white guys with beards). Irrational's world is a monumental achievement, from its foundations to its fiction. Whether I was watching families enjoying lazy picnics on the grass, poking at oddities and antiquities in shops, or bashing the crap out of terrorists using a hook hand, BioShock Infinite took me somewhere I had never been before.

TOM What spell was I under, to think that BioShock Infinite made a lick of sense? It was wonderful nonsense, though, a moshpit of ideas that provided ammunition for lengthy, excitable discussion. In the week that followed its release, we would talk in strange code to avoid spilling spoilers. “Have you reached THAT bit?” one of us would ask, with an odd eyebrow waggle. “Oh you mean the bit with the THING?” the other would reply, forming their hands into a flapping bird shape. The imagination behind Infinite's glorious, beautiful world proved infectious, and for all its incoherence, it's a million miles away from the mundane shooters we've grown used to.

TONY As soon as I finished, I started again. Not for myself but so that I could plonk my non-game-playing girlfriend down beside me and show her the incredible sights. The colour-saturated, carnival atmosphere of early Columbia. The terrifying attack on Elizabeth's statue. A female NPC who didn't wear hotpants or carry a gun. No other game this year made me so excited to say “look at what games can be now!”

The AFK Room: more than just an oasis amid the roar of QuakeCon

I passed it probably a dozen times during QuakeCon weekend: a closed door off the hotel's main thoroughfare, marked with a standing sign inviting attendees to take a break from the show.

AFK

I passed it probably a dozen times during QuakeCon weekend: a closed door off the hotel's main thoroughfare, marked with a standing sign inviting attendees to take a break from the show. It certainly felt like a good idea: as friendly as the boisterous crowds of QuakeCon are, it's an easy place to become overwhelmed or anxious.

The AFK room, however, isn't just a spot for some peace and quiet amidst the amiable roar of the convention. It's a place for people who are in crisis to find help. Late Sunday night I spoke with Russ Pitts, co-founder of Take This, the charity providing and staffing the AFK room at Quakecon.

"It's not just a quiet room for us," said Pitts, a former games journalist and co-founder of Polygon. "We're a mental health awareness and education charity, so we don't want to have a room where it's not monitored or where people can't get more help than just a quiet space if they need it."

Take This was founded in 2012 by Pitts, game journalist Susan Arendt, and clinical psychologist Dr. Mark Kline, after freelance writer Matt Hughes took his own life. The idea for the charity arose from conversations between colleagues of Hughes, who were unaware that he had suffered from depression. "What kind of resources would we have wanted to create to help someone like Matt understand that it's okay to not be okay, it's okay to talk to people about these issues?" Pitts and others asked themselves. "And Take This grew out of that."

AFK

The first AFK room arrived at PAX East in 2014, and according to Pitts, they're now visited by roughly 500 people a day during PAX conventions. This is the first year QuakeCon has provided an AFK room, though I expect the practice will continue to in the future—Pete Hines, Vice President of PR and Marketing at Bethesda Softworks, is a member of the governing board of Take This. Pitts said the charity is also reaching out to other conventions. "We're talking to organizations like GenCon. We're going to have some kind of presence at DragonCon this year in Atlanta."

"Every time we do this, including here at QuakeCon, we have people come in who are in states of extreme duress, who are experiencing emergent crisis of some kind, whether an anxiety attack or panic attack or suicidal ideation." As a result, Take This provides access to trained professionals for event attendees, and also provide training to convention staff and volunteers on mental health awareness.

Due to the variation of laws from state to state, Take This doesn't offer services or therapy in the AFK room, but instead provide information about how and where visitors can find local help.

"As far as mental health goes, the legalities are different in every state, "said Pitts. "We don't do clinical services here, we don't do therapy in the room, we don't diagnose in the room, but our clinicians do offer people advice about local resources, and they're trained in therapy so they know the difference between having a conversation and dispensing therapy. So, they know where to stop."

How GOG rescued 13 Forgotten Realms games from licensing hell

In the 1980s and ‘90s, the roleplay system Dungeons and Dragons was huge, and so were the spin-off video games set in the Forgotten Realms—titles like Pool of Radiance, Eye of the Beholder, Dungeon Hack and the awesomely-named Menzoberranzan.

Forgotten Realms 4

In the 1980s and ‘90s, the roleplay system Dungeons and Dragons was huge, and so were the spin-off video games set in the Forgotten Realms—titles like Pool of Radiance, Eye of the Beholder, Dungeon Hack and the awesomely-named Menzoberranzan. Why have you never played them? Because, like Planescape: Torment and Baldur’s Gate, they’ve spent twenty years lost in licensing hell. And Good Old Games has finally tracked them down.

For Good Old Games finding the missing games, establishing who owned which parts of them, and getting them into a playable state has taken many years. Their first step was to work out who owned what. After all, the original developers SSI disappeared into Mindscape in 1994, before being passed through The Learning Company, Mattel and Ubisoft—and this game was licensed from TSR, who closed in 1997.

As GOG’s Oleg Klapovsky explained to us, “with classic games like those from the Forgotten Realms series, years of mergers, acquisitions and bankruptcies can really leave the rights sitting in very strange places... like banks, or enormous conglomerates. Sometimes the original documents aren't even digitized, so somebody has to physically head down to the figurative cellar and dig through countless cabinets.” On top of that, the art, the music, the license, the digital distribution rights, the code can all be owned by different people.

So GOG went to SSI, and hence to Ubisoft, who were also the publisher of the first SSI game. “After considerable back and forth, it unfortunately (though perhaps fortunately for us) turned out to be a dead end.” says Klapovsky. “The rights were not with Ubisoft. They were sold or left behind somewhere along the way.”

Forgotten Realms 5

Then GOG went to the next logical place, the current owners for D&D, Hasbro / Wizards of the Coast. “While they did own The Forgotten Realms intellectual property and were very excited for what we're doing, they also had never gotten the actual games themselves.” Another dead end.

With the trail running cold, GOG tracked down SSI’s original President and founder, Joel Billings. “As a huge fan of D&D he was willing to help walk us through a detailed history behind SSI mergers and narrow the search down to two potential candidates: Mattel, or Gores Technology Group (who had acquired The Learning Company). The latter was a hit. We had found the actual rights owners to the Forgotten Realms games, and after several more months of negotiations, they agreed to sell them to us outright.”

GOG managed to recover thirteen games this way. They are: the party-based RPG Pool of Radiance; its sequels Curse of the Azure Bonds, Secret of the Silver Blades and Pools of Darkness; C&C creators Westwood’s minigame RPG Hillsfar; the RPG construction kit Unlimited Adventures; Westwood’s first-person Eye of the Beholder Trilogy; the roguelike FPS Dungeon Hack; the two Savage Frontier games; and the Ultima Underworld-like Underdark exploration game Menzoberranzan.

Then it they had the not-so-small matter of getting all thirteen running and bug-free for modern systems including Windows 10.

Then it they had the not-so-small matter of getting all thirteen running and bug-free for modern systems including Windows 10. Considering these were huge games—and not bug free in their release versions—that’s a massive task that the GOG team has been working on since April.

One of the stranger challenges has been to get the Code Wheels working—the nostalgia-inducing cardboard security devices that came in the SSI Gold Boxes. “We considered trying to remove the need to use these codes during gameplay (much like we've done with several of our games in the past) but instead decided to opt for leaving that mechanic intact for the sake of a cooler, more authentic old-school experience.” So each game has a printable DIY code wheel for players to construct and a software version as well.

Forgotten Realms 6

For the SSI team who created them, it’s great that these games will get rediscovered by a new generation. After all, twenty years ago they put their heart and souls into them, as the lead designer David Shelley explains. “SSI had bet its future on the franchise, bringing in their first artists, and creating a team much larger than the 2-3 man teams they usually had.” Thankfully, the games did so well that, as one of the programmers said, “we could have shipped pancakes in a D&D Gold box and made money.”

Though it sounds ridiculous now, before these games came out it was thought that the computing power simply didn’t exist to represent D&D accurately. As SSI programmer Keith Brors recalls, “These games were extremely advanced for the time. The C64 and Apple II versions were written completely in 6502 assembly and those computers only had around 48,000 bytes of Ram. The computer I'm using here to answer these questions has 166,000 times as much memory.” (Charmingly, Bror still works on D&D, as lead programmer on Neverwinter Online.)

Not that they were perfect games, by any means. Laura Bowen-Shelley was an artist at SSI; “They do have a different feeling from modern games, less dark and not very grim even when they were violent. Less questioning of stereotypes, too. There seemed to be less at stake, and there was less judging and pointing of fingers. As a female, I felt a bit outside of the whole thing and not able to push back much, though I was a lot less embattled than seems to be the case with some women in gaming right now. No one was making threats when I said I preferred to draw a female authority figure with a strong jaw rather than a sexy pout.”

We have seen the D&D torch passed on to great games like Baldur's Gate.

That said, all the team we spoke to seemed proud that these games are once again part of videogame history. “We have seen the D&D torch passed on to great games like Baldur's Gate, and members of those teams have gone on to make some games in the same vein, such as Pillars of Eternity.” said David Shelley. “It does trade off turn based detail for realtime excitement, but the story and style hearkens back to many of the games in these collections. Divinity: Original Sin is another with an excellent fantasy feel, and a similar experience.”

And though these games are all that’s left of SSI, the team behind them has finally found the impetus to recreate their charms, as Shelley explains. “Some of us decided that we should get together again and produce a new RPG which hearkens back to those great games. We helped found TSI, and are busy creating Seven Dragon Saga. Our six character parties, and turn based combat, are inspired by the work done on the D&D games.”

Powered by Blogger.