In Homeworld: Deserts of Kharak there’s still space in the desert

The original Homeworld games are widely considered RTS classics .

Homeworld Deserts of Kharak

. Their zero-g, topsy-turvy gameplay pitted you against unrelenting swarms of enemy ships and the infinite, damning vacuum of space. Interest in another Homeworld game had never completely died out, but after years and years of IP juggling, it seemed nothing would come of the franchise for a while yet.

Lo! There’s a whole new Homeworld game coming out next week. Say it again. Next week. Blackbird Interactive, a conglomerate of developers hailing from the original Homeworld games and elsewhere, is finally going to release Homeworld: Deserts of Kharak. But this time, gameplay takes place on the ground and there’s a concerted focus on personal storytelling—a huge, somewhat worrisome departure for the franchise. But Rob Cunningham, CEO of Blackbird, and Rory McGuire, Lead Game Designer aren’t worried. They stopped by recently to show me a few campaign missions from Deserts of Kharak and how it embodies and iterates on their classic take of the RTS formula.


Marooned

Deserts of Kharak’s basic gameplay loop will be familiar to Homeworld players. A grounded ‘mothership’ acts as a hub for vehicles, upgrades, and mineral processing. Smaller units with varying rock-paper-scissors specialties act as offense, defense, scouts, and so on. Each mission offers up some kind of variety, whether defending a mobile story character as they investigate a familiar shipwreck or navigating a dangerous sandstorm while enemies attack your flank with reckless abandon. At first, I was a bit worried that pulling Homeworld down to terra firma would drain the game of its somber identity. Space as a backdrop made the journey feel impossible, desperate. Zooming out on space battles drove home how small and insignificant your meager fleet actually was. It was oppressive and difficult—especially because units carried over between missions. Kharak appears to keep that sensibility intact though. The environments are massive, and use of the tactical overhead camera from the prior games is absolutely necessary. Dunes tower like mountains and canyons split the map into a maze of chokepoints. Zoom out far enough and it starts to look like Google Earth.

Homeworld Desert Far

Click on a unit it to move it, and a circle forms beneath it to show distance in 360 degrees. This was useful in space, where relative distance is hard to make out in a black void, but now it has a new purpose. In Kharak, movement along the Z-axis is out, and instead the circle displays a ton of information about terrain advantage. It’s like a live topographical map that changes depending on where you move the cursor relative to the selected unit. As you move your mouse further from the unit and the circle grows, it’ll reveal lines that determine changes in elevation: if the highlighted space is orange, then moving your unit there will provide a disadvantage. Blue? That’s advantageous terrain. Move a unit there for a damage buff and an ego boost. If you’re planning an attack move, red lines between the selected units and designated attack area communicate lines of fire. A solid red line means you have a clear shot, while a dotted red line means the shot is obstructed.

It’s a ton of information displayed in an elegant way, and vital for the accessibility needed in an RTS. With a few clicks, the player can easily parse some of the most important information in the game. What remains to be seen is how important it remains forty minutes into a harrowing scenario. I’ve yet to have a go at Kharak’s terrain tactics over the course of a mission (or the entire campaign) myself, so it’s hard to say how balanced, interesting, and complex they can get. Worst case, each match boils down to a lame bout of king of the hill. My fantasy: using dunes for cover to perform stealthy flanks, creating new choke points through dune deformation, and doing it all with relative ease.

Homeworld Desert Close


Truck voyeurism

My biggest takeaway from the demo was how gorgeous it all looks. McGuire loaded up a night mission and sent some dune buggies to scout ahead, a menial task in most RTS games. But then he transitioned the bird's eye camera from the sky to follow the buggies from behind on the ground. He hit a button and the UI disappeared. What was left looked like something out of a movie. A starry night sky lit up the desert floor in deep blues while the buggies weaved in and out of one another, leaving behind a trail of dust. When zoomed in, the amount of detail work on the vehicles is hard to ignore. Each buggy’s wheels had independently moving suspension on their wheels, logos were readable, and they adjusted to every change in terrain according to their velocity. The vehicles feel like they behave according to their physics, like conceivable machines rather than abstract polygonal toys. Vehicle lust is alive and well in Deserts of Kharak.

Homeworld: Deserts of Kharak is looking really, really nice. I was taken aback at exactly how much appears to have gone into the game, but then again, it’s coming out of nowhere. A nice surprise, but also somewhat disconcerting. Without a proper hands-on, I can’t comment on how it actually feels to play, and as such a slow burn experience, Homeworld takes hours to truly get to grips with. Are the desert environments varied and interesting enough to be worth the departure from space? Not sure. Is the story any good? The presentation seems to be, but I don’t know. What about the multiplayer? We’ll get back to you on that. Luckily, it won’t be long. Homeworld: Deserts of Kharak comes out January 20th.

This is what people are doing with the Source Filmmaker

Look, I'm going to level with you: it's a slow news day.

I mean, I could use this time to tell you that a game has outsold another, earlier game in a specific territory. But do you care? I don't care.

Then I saw this, on Kotaku, who themselves saw it on Reddit. And you know what, yeah. This I care about.

I like to think it's what Nicolas Winding Refn would create if he were forced, at gunpoint, to make a machinima about a woodworker.

Link us to your favourite Source Filmmaker video in the comments. Together we can procrastinate this day away.

Update: Holy shit, this guy's channelis amazing.

Listen to the Homicidal Voices in the Point-and-Click Horror of Masochisia

I have a list of horror games that I want to play (and write about), as any good horror gamer should.

I have a list of horror games that I want to play (and write about), as any good horror gamer should. Right at the top of this list was, so I leapt at the chance of reviewing it for IGM. At a glance, I was captured by the style of Jon Oldblood’s psychological horror, but after looking a little deeper, I saw that the game had so much more to offer than just its unique visuals.

Masochisia is about a boy (or rather, young adult) known as Hamilton, who experiences hallucinations of both the visual and auditory kind. It is through these hallucinations that he realizes he will one day become a psychopath. Whether he is able to use this knowledge to change, however, is a different thing entirely. A gruesome thing, in fact, reminiscent of the graphic horrors of Neverending Nightmares and Fran Bow , which featured similar focuses on mental illnesses and abuse. Fair warning: Further down the page, Hamilton’s mother is going to drop the C-bomb (an unflattering and offensive word for a woman used as slang) in one of Masochisia ‘s images. Apologies if this offends you in any way, but if it does, this game is probably not for you… offensive language is the least of Hamilton’s worries.

This journey into the depravities of the mind is taken by scrolling horizontally through a world that immediately sets the tone. Approximately 30 seconds into the game, I clicked to open a door, and on the other side of that door I was shown a vision that had me jumping back from the screen in horror. Consider me officially on edge. Masochisia doesn’t create fear using jump-scares often, though it does use them well when the time calls for it. Rather, the game creates constant tension through its 2D environments, featuring portraits with the eyes scratched out, bloody handprints and scribbles, and impressively jarring sound effects each time an interaction is made.

Adding to this tension is the fact that you can only see parts of each scene you click into, and anything could be hiding just outside your field of vision. Only by navigating slowly across the screen will you find out whether someone, or something, has joined you in the area. And, no matter who they may be, I can guarantee that each will be as distinctive as the last, with their own strange style, creepy conversations, and obscene objective for Hamilton to carry out.

Fortunately, these objectives, normally quite cryptic but easily understood and solved, keep the narrative moving quite smoothly. I was slightly worried that I would become frustrated with Masochisia ’s puzzles, for no reason other than the fact that I am impatient and simple, but they are used as a method of moving the narrative forward, which is the key focus of the game. In doing so, you get to follow Hamilton on his journey to becoming the mentally unstable murderer that we all know and…well, just know. It is a tale that probably won’t be for everyone, as it looks into the reasoning behind the psyche of a killer, with a foot set firmly in the disturbing realities of strict, religious parents, domestic abuse, and an inability to change the fate that others seem to have set for you.

Actually, this leads into one of my problems with an otherwise strong experience. There isn’t all that much choice, or at least my choices didn’t feel that open. For example, I tried to keep Hamilton as “sane” as I possibly could, denying my love of hurting others and questioning rather than giving in wherever possible. However, at certain points it seemed that the less slice-and-dice passionate options were greyed out, and I had to agree to act out the gruesome desires of whomever I was conversing with. Having said that, I’m aware that this may actually be a sign that mental illnesses are not simply a “choice,” in which case the game makes strong cases for both sides of the nature-vs-nurture debate.

Another downside I experienced may have come from the genre itself, rather than being specific to Masochisia . I found that I had to do a lot of backtracking, and no matter how nice the backgrounds look, and how great things sound, I felt like I just couldn’t scroll fast enough through these areas. As I said, this could be a personal critique that won’t apply to everyone. If point-and-click is your go-to gaming genre, you’ll probably be used to it, but personally, I knew where I needed to be, and I just wanted to be there already.

Nevertheless, Masochisia is a beautifully twisted point-and-click adventure into the psyche of a very disturbed young man, and it creates its atmosphere using a mixture of things you don’t see, and things you wished you had never seen. Though I sometimes felt a little impatient scrolling through environments that I’d scrolled through before, and there isn’t quite as much choice as I first thought, Oldblood’s game cuts its way into the mind-bending group of horrors I’ve enjoyed recently. If you’re in the mood to follow a character’s journey into homicidal madness,could be the game for you, and you can find it for $7.99 USD on Steam, or get in touch with the Oldblood on Twitter. Just make sure you’re ready to explore some unsettling themes and visuals, before you follow Hamilton into the darkness.

Pros

Eye-catching style really shows off the atmospheric horror Narrative is a surreal joy to explore Just the right length for such an intense experience

Cons

Occasionally repetitive to backtrack through the world Didn’t experience as much choice as expected

Team Fortress 2 Heavy guide

Team Fortress 2 is now free, so everyone with a Steam account owns it.

TeamFortress2HeavyGuideThumb

Team Fortress 2 is now free, so everyone with a Steam account owns it. If you haven't played before, it can be an intimidating, hat-riddled game. Previously we gave you a handle on the basics, itemsand classes, now we're going in depth on each class.

Today the spotlight in on the Heavy, the giant Russian bear of a man with a great big gun, a great big grin and some of the best lines in the game.


Getting Started

The Heavy is the brute. He's the player who should be in the midst of the fight, his mini-gun firing solidly, cutting down multiple enemies in a single life. He has some of the highest damage output, the highest health, and his gun decimates enemies at medium to short range. His big fat health pool means that he can survive for a long, long time - and with a few community drops, he can hide behind cover and heal by eating a sandwich or chocolate bar.

A Heavy's weakness is his slow-speed and big fat head. His minigun takes a few seconds to spin-up and deal damage. When he's firing, a heavy walks even slower than usual. And his big fat head, fat back, and slow speed mean he's extremely vulnerable to sniper headshots (which, when fully charged, kill instantly) and back-stabs from the Spy (which, again, will kill him instantly.

A Heavy can spool his mini-gun without firing by holding down the right-mouse button. He'll walk a little bit slower. It's useful if you're defending a capture point and know that enemies will soon be coming into your field of view.

Medics love Heavys. They have a nice big fat health pool, so they're easier to keep alive. When uber-charged, the Heavy's minigun is a frightening beast - the Heavy can afford to run in close and let rip from a very, very short range, killing everything in sight.

If you're attacking, a heavy should be near the front of the action, using an engineer's teleports to quickly enter the fray. A Heavy should never fight alone - a lone heavy is vulnerable to being overwhelmed. Instead, Heavy should wait until they two or three team-mates to make any push. Team-up with a medic and charge forward - you'll carve a giant hole through the enemy ranks that the rest of your team can easily flow through. On payload maps, attacking heavies should be stood right by the little Kart, PUSHING.

If you're defending, a Heavy is best teamed with an Engineer or Medic. An engineer's dispenser can both heal the heavy, and refill their minigun, meaning a Heavy need never stop firing.


Recommended Items

The Sandvich is a replacement for the Heavy's shotgun, which lets him heal himself to full over four seconds. While you're snacking, you're unable to move or shoot, so enormously vulnerable. And the other team will hear you “Om Nom Noming your way through the snack,” so try and eat out of the line of fire. Once you've got the Sandvich, you're unlikely to use your shotgun again. The sandvich can also be dropped by right-clicking - letting you heal a friendly medic, for instance.

The Brass Beast is a mini-gun that does increased damage, but requires a longer spool-up time, and you'll much slower when firing. It's a riskier prospect, because you're far more vulnerable to surprises. But it's extraordinary how much extra damage you'll see yourself do.

The Heavy's bare fists aren't particularly useful - the damage they do isn't great. The Gloves of Running Urgently let you move a little bit quicker when equipped (like the knife in Counter-Strike) while the Killing Gloves of Boxing will give you a brief window of extra-crits if you land a killing blow with them. Aim for the Gloves of Running first. T he Fists of Steel let you close to melee distance while taking less damage, but they're too specialised for normal use.

The Heavy Starter pack gets you Natasha ; a mini-gun that does reduced damage but slows down your target, and the Sandvich , alongside a Football Helmet. It costs peanuts. If you like the Heavy, and have just started playing, go for it.


How to help a Heavy

If you're stood next to a heavy, watch his back. He's going to die by backstab, or by sniper-shot. So stop shooting at the scout that's waving a fish in his face and start shooting at the snipers at far range, or check that the suspicious looking sniper isn't actually a spy by shooting at him.

Remember that if your engineers have put teleporters up, you are always faster than a heavy, so let him get on it first.


How to fight a Heavy

It's entirely pointless to go one-on-one with a heavy from the front at short and medium range. They just have too great a hit-pool, they do too much damage, and they're probably being healed by a medic. Instead, back off, and find a way around, hitting them from the side or back. When a heavy is in a firing rage, the player will often be so focused on what's right at the point of his cross-hair that he won't notice what's hitting him from behind.

If he is being healed, kill the medic first. Always kill the medic first.

Stay tuned for more guides for the rest of the TF2 classes!

The 2014 Saxxy Award winners announced

The Valve community hive-mind has spoken—well, pulsated—and the best Source Filmmaker films have been chosen.

Saxxy2

The Valve community hive-mind has spoken—well, pulsated—and the best Source Filmmaker films have been chosen. Unless they were wrong, which would fundamentally undermine Valve's entire business strategy for the last few years. Probably.

Here, then, are the official winners of the Saxxy Awards 2014:


Best Short
Best Comedy
Best Action
Best Drama
Overall Winner

A strong selection, I'd say. Rivalry Rush is a particular highlight of mine, with the winner, Animation vs. Animator, also providing a healthy amount of laughs. Still, it's a surprise to see that the winners are all TF2-based. Valve opened up a few different games for this year's competition, and there were some great entries for a few of their other games. I wonder if the community is just too heavily entrenched in the game, or if film makers are just more comfortable playing with TF2's cartoon-oriented antics.

If you've got a favourite that didn't make it into the winners list, post it in the comments for others to enjoy. You can see the full list of nominations here.

Adventure Game Désiré Peers at the World Through a Color-Blind Lens

Folks like me who can see colors probably can’t truly appreciate the ability.

Folks like me who can see colors probably can’t truly appreciate the ability. Color vision deficiency affects one in 12 males on average, and the protagonist of the French game Désiré suffers from said color-blindness. As this was the case from birth, the game is entirely in black and white.

Désiré, is a loner, literally seeing the world without colors, which reflects on his attitude as well. He feels no joy as he traverses the streets, trying to find his purpose in life. A schoolteacher asks him why he didn’t draw the sun, and his response is a somber “It’s always night in my head.” Although he’s young, he meets several characters on his journey who alter his perspective on the world.

The adventure is based on the personal experiences of lead designer and writer, Sylvain Seccia. He’s worked on Désiré with a small team, having started conceptual planning about three years ago. Seccia intends the game to subvert today’s video game trends of immediacy and reward, instead drawing players into a contemplative journey. The game critiques a consumerist, profit-obsessed society.

Game developers should take note of the Adventure Game Engine, which Seccia developed himself and made freely available ( Désiré runs on it). The download page is herealong with explanations on how to use it to craft adventure games.

As for the color-blind adventure, Désiré will be out this Fall on Windows, Mac, Linux, as well as Android and iOS. For more info, be sure to like the game on Facebookand follow along on Twitter; stay tuned to IGM for more coverage.

Overwatch footage features a transforming tank

Most Overwatch characters will let you shoot people in one very specific way.

Most Overwatch characters will let you shoot people in one very specific way. Bastion—the subject of the above game footage—can shoot people across three different forms: robot, gun turret or tank.

The Reconfigure skill lets Bastion transform between mobile assault unit and stationary gun turret. While mobile, he carries a submachine gun. When switching to turret duty, he instead packs a gattling gun and forward-facing shield. His Ultimate offers a few seconds of tank fun, complete with long-range cannon.

Head to our Overwatch tag pageto see more game footage. Overwatch is due to enter beta testing this autumn.

4th Annual Saxxy Award voting begins

Hey, you!

Hey, you! Do you like frittering your life away on the internet, in a near-fugue state of YouTube videos and silent judgement? If so, you're needed for the 4th annual Saxxy Awards. Voting for Valve's Source Filmmaker awards has begun, meaning there's a big ol' pile of action-packed, funny, dramatic or, er, "short" videos to be seen.

The voting is taking place through Steam's Saxxy page. It's a modified Steam Workshop page; modified so that you can't generate a list of the most popular videos. Instead, you'll be shown a random queue of hopefuls and asked to up or down-vote accordingly.

This year, the rules have expanded—the Saxxy's no longer being a specifically TF2-based award. Before the submission process began, Valve released a series of content packs for the tool, allowing users a greater range of both Valve and third-party assets. It will hopefully lead to some unusual cross-game situations...

Voting will end on 11:59pm PDT on Monday, 29 September. You can see last year's Saxxy winners here.

Dev Links: The Right Touch

“…I legitimately feel bad when I don’t respond because these are people that are just reaching out and want someone to shed some light game development.

suphexandroid

Today’s Developer Linksinclude a few articles on getting started making games – though one of them may not be entirely serious .

How Do I Get Started Programming Games???(Team Meat Blog)
“…I legitimately feel bad when I don’t respond because these are people that are just reaching out and want someone to shed some light game development. They are doing the same thing I did with that M.I.T. professor so many years ago. They are interested in what I do and want to know how to do it, they want to be a part of game development in some way. Well, I want to help but don’t have the time, knowledge, or desire to be a teacher …so here we are. This is an FAQ for anyone who wants some advice in some way from me about making games.”

Gaming New Year Resolution – Backlog Tackling!(Zeboyd Games)
“Like many gamers, I have way more games than I have time to play them. It’s just so tempting to buy new games when they’re in a huge sale even if I have no intention of playing them at the time of purchase. That stops in 2013! Basically, I’ve gamified the act of reducing my backlog.”

Understanding Challenge(Gamasutra)
“What is challenge? Talking about challenge is difficult when the vocabulary we have is limited to ‘physical’ or ‘mental.’ It doesn’t give us the necessary tools to examine games with any sort of substance. The Mechanics-Dynamics-Aesthetics (MDA) framework states ‘Charades emphasizes Fellowship over Challenge; Quake provides Challenge as a main element of gameplay.’ We inherently recognize that the challenges between these games are significantly different, but there is no language available to explain that difference. We need to move away from vague, ambiguous words like “physical” or “mental” and toward a more definitive vocabulary. But what?”

The Hold Up(distractionware: devlog)
“So, first of all, this post is 90% good news! Super Hexagon on Android is basically done . It’s been basically done for a while, in fact – we sent out beta test copies before Christmas. (We being myself and the coder who’s handling the android port, Laurence Muller of EpicWindmill.)”

Networking Tips and Tricks Part 1(AltDevLogADay)
“Wow, it’s been a long time since I’ve posted to AltDevBlogADay! Life has been massively crazy for the past six months or so, and I’m nearing the end of my time in school. In almost 30 days, I will be a college graduate! In the midst of our final project sprint, I was asked by a friend of mine if I ever thought about doing a blog post about networking.”

BattleBlock Theater Is Being Watched(The Behemoth Development Blog)
“Happy new year! Hope all the holidays have been well and that you all had a chance to spend some time with your loved onesyour video games. We certainly did. It’s only been a week since the start of 2013 and we’ve been extremely active in BattleBlock Theater development. Here are some mini updates for you folks:…”

How To Launch Your Game Development Career In 2013(Kotaku)
“Okay. You need one original idea that no one has ever had before. Try this: Everything we do is a game. Games are systems, and since everything is, like, totally a system, you can almost say life is a game. Find yourself at the kind of party where everyone is ‘seeking capital’. Raise your glass enigmatically to your lips as you tell an attractive member of the opposite sex: ‘I think life is a game.’ Oh man. You’re on your way.”

2012 Postmortem and 2013 Goals(Olofson Arcade)
“Over at the indiegamer forums, we have this annual tradition of someone starting a threadwhere we report our activities and progress during the year that passed, and our plans for the coming year. This is an adaption of my post.”

The best of video from E3 2011

E3 is a reason to get excited every summer.

Tomb Raider Lara lights the way

E3 is a reason to get excited every summer. It's not like GDC where we get to hear the insiders story on game development, or the day to day coverage of the industry. E3 is all about seeing. That's why E3 is the event where developers and publishers show off the most spectacular trailers and offer extensive demo footage of the next big titles you're going to be playing. E3 2011 was packed with video footage of some of the most exciting upcoming titles, from those just around the corner like Warhammer 40,000: Space Marine, to those still a long way off, such as Tomb Raider. Read on to find a round-up of the most impressive videos from this year's event.

Battlefield 3

EA came out in force this year with Battlefield 3. DICE's incredibly loud shooter took to the stage with a first look at the game's multiplayer component – arguably what most people will be buying Battlefield for. The result was impressive; DICE may not have created a multiplayer revolution with BF3, but it's certainly and evolutionary step forward, both in sheer technological horsepowerand immersion. The short trailer showing off the Operation Metro map; a 3-stage Rush game set in Paris, demonstrated some of the incredible smoke and destruction effects, alongside the Mirror's Edge-style vaulting and incredibly punchy shooting mechanics. DICE clearly realise where their key strengths lie, and have preserved everything we loved about BF2 and Bad Company 2, whilst tweaking elements to created a completely refined experience. Tim got to play it, and everything we see in the trailer appears to come true when you take up keyboard and mouse. We already know we'll be playing Battlefield 3 every night for a year. Will you be joining us?

Bioshock Infinite

Over the months since we last saw Bioshock Infinite, interest has wandered slightly. E3 pulled our focus back to Irrational's steam-punk shooter, and we can't wait to get hands on time with it. Colourful, intense and on the right side of mental, this rollercoaster ride through a world of American exceptionalism (literally a rollercoaster at times due to the sky-rails) looks like it will capture us with as iron-like a grip as the original. Whilst much of the trailer appears scripted, we've been assured by Irrational that it isn't; rather it's just tightly rehearsed. Interestingly this time the silent protagonist has been abandoned in favour of the much more chatty central character Booker DeWitt. This works well for Infinite's central narrative; where BioShock was very much the loneliness of exploring Rapture solo, Infinite at its core is the relationship between Booker and Elizabeth, and the dialogue brings this relationship alive with vibrant and amusing quips.

Brothers in Arms: Furious 4

Gearbox abandon their Band of Brothers influence in favour of something more bombastic for their latest entry in their WW2 shooter franchise. The trailer – clearly influenced by that scenewith Michael Fassbender in Inglourious Basterds – is a jarring change from Matt Baker's harsh journey through Normandy, but is no less welcome. Furious 4 looks incredibly good fun; Bulletstorm with Tommy guns. The forums have filled with people upset about this new direction, so we should assure you that the days of Baker and the 101st are NOT over, but for now we implore you to give Furious 4 a chance. We liked what we saw, and think you will too.

PayDay: The Heist

PayDay was a massive surprise for us. We had no idea what it was, nor who developers Overkill Software were before E3, but now they're firmly on our 'to watch' list. PayDayis Left4Dead for criminals; a co-op survival game where players must first break into a variety of targets (among them banks and skyscrapers), steal a fuck-load of moolah and then get the hell out. Problem is, the moment you blow that vault open every cop in a twenty-mile radius will close in on you. Using a combination of firearms and harsh, harsh language, you take down those out to put you in cuffs and make yourself very rich. Tim thought it was the best discovery of E3. Fans of films like Heat and Point Break are going to love this.

Tomb Raider

Of all the games I've seen at E3 this year, two are battling for supremacy. Naturally Battlefield 3 is one of them, but Tomb Raider is putting up a fight. Everything about it looks gorgeous; from Lara herself to the grimy environments to the outstanding flame effects. The demowas the sole impressive element of an otherwise poor show from a Kinect-obsessed Microsoft. Despite the demo not showing what I wanted to see (namely the expansive open areas of the island), it did give a good sense of the claustrophobia some of the environments will offer. Uncomfortable tension was broken by outbursts of violence, although the frantic scrambles away from the few enemies emphasise that combat may well be more of an event than a regular occurrence, which would bring a better sense of gritty realism to the normally gun-totting Miss Croft. There were some sequences of QTE, but I'm hoping that these will be nothing to worry about.

Mass Effect 3

Video from Mass Effect was numerous at this year's E3, with a pre-scripted trailer, a live-action trailerand the mission demo from EA's conference. Whilst it's almost impossible for BioWare's sci-fi epic to not impress, the demo showed a very weak segment from the third game. An on-rails shoot-out against a live Reaper may well look beyond awesome, but it doesn't promote what we love about Mass Effect. There's probably nothing to worry about, but it seems odd that BioWare would show off a segment that uses a universally hated mechanic. Still, there's also footage of the new melee system, which converts Shepard's omni-tool into a wrist-mounted blade for some satisfying stabby moves in close quarters. So despite a somewhat off-step demo, it's hard not to get excited about Mass Effect 3.

Warhammer 40,000: Space Marine

The last time someone attempted to make an action game set in the grim darkness of the 41st millennium, the result was as frightening as a trip to the Eye of Terror itself. Thankfully the current guardians of the 40k licence – Relic – are masters of design. Third-person action may be a departure from their RTS comfort zone, but it looks just as polished as the Dawn of War games, maintaining their perfect understanding of Games Workshop's universe. Point in case: the blood. If this was a film, the total blood gallon count would be equal to that of Coca-Cola's annual output. We also finally get a real look at the Chaos troopers. Whilst grinding Orks with chainswords is clearly going to be a most satisfying affair, something less fleshy and encased in power armour will be more of an enjoyable challenge for our blessed Heavy Bolter (she has a cyclic fire rate of 635 rounds per minute. We call her Vera).

The Elder Scrolls V: Skyrim

Skyrim was one of Graham's top 3 games he saw this year, and it's pretty easy to see why. The above video from G4TV is a great 14 minute interview with game director Todd Howard as he explains many unseen elements of Skyrim. Among them are the finer details of inventory and spell-casting, alongside Dragon Shouts and interacting with NPCs. Whilst the combat still seems to have a little of that clunkiness that Oblivion had, Skyrim certainly looks amazing, with some beautiful snowy vistas. They're nothing compared to the dragons though; breathtaking monstrosities that truly steal the show. If you're anything like us, you already know that your first fight with one of these winged beasts will be a highlight of your gaming year.

Star Wars: The Old Republic

Before E3 we really weren't sure of The Old Republic. Our hands on sessions left us a little confused, and none of the info we were gathering was helping to form a cohesive picture of what SWTOR really was. E3 changed all that. We finally saw raids, space combat and the details that helped gel everything we knew into the big picture. And we love it. The video above shows off the Eternity Vault raid, and it's everything we'd want from a Star Wars MMO. Lasers, giant robots, leaping Sith and a feeling of grandeur. Plus, there's a kick-ass cinematicat the start of the game. A long time ago can't come quick enough.

Dead Island

We had cinematic CGI trailers, screen shots and info aplenty on Dead Island, but E3 was where we truly got to see this zombie paradise in action. And even without that haunting melody and falling child, Dead Island's gameplay still manages to be shocking without going too far; bloody yet still retaining the carefully designed impact of a holiday gone horrifically wrong. It's a combination of Far Cry and Left 4 Dead, and looks to be an absolute triumph.

Valve on Dota 2 Reborn, community, and building a game for the long term

Erik Johnson
Erik worked as a QA tester for Sierra on the original Half-Life, and subsequently joined Valve to work as a shipping manager.

Oracle

Erik worked as a QA tester for Sierra on the original Half-Life, and subsequently joined Valve to work as a shipping manager. According to his official bio, he's now one of the company's 'business development authorities'. That's not a job title, mind.

Earlier this month, during the International, I had a chance to sit down with Valve’s Erik Johnson for half an hour to discuss Dota 2’s past, present, and future. In particular, I was keen to talk to Erik about Valve’s approach to the community—the way it chooses to talk to, and not to talk to, the increasingly large group of people who make Dota 2 their hobby. I can’t promise too many hot scoops from what follows—this is Valve we’re talking about—but it should be of interest if you’re curious about how Valve operate as a game developer and service provider. This is the philosophy that produces the stuff you love about Dota as well as the stuff that makes you angry. The two are not, it turns out, entirely separable.

PC Gamer: With regards to Reborn, how has the beta been going? When you rolled it out, the plan for launch was ‘post-TI’. Have there been any surprises? Has it progressed slower or faster than you expected, in terms of issues rolling in?

Erik Johnson: Not really. There’s a bunch of cool custom games getting built which we kind of expected. We’re happy with overall performance of the engine across a variety of hardware. Dota runs faster on higher-end machines, which is what you’d hope would happen if you made a big technology investment, so yeah—we’re happy with how things are moving.

PCG: Is there an ETA, for Reborn?

EJ: No ETA, but sooner rather than later. Once this tournament’s over, that’s the thing we’re pushing hardest.

PCG: I thought it was interesting watching, from Manifold Paradox to New Bloom, how your approach to designing live events for the community changed [you can read more detailed thoughts about said events here, for what it's worth. - Ed] Manifold Paradox was controversial for being the first event that brought new mechanics inside the regular Dota game. New Bloom moved away from that. Was that a case of trying it and finding that it didn’t work?

"We still feel that, fundamentally, our strongest form of communication is software."

EJ: Everything that we do like that, we’re just poking at something specific to see how it works. We’re not technically running a science experiment, but we have ideas—like ‘what if there was an additional level alongside the things that are going on in everybody’s day to day Dota matches’. How do we fit that into the experience? How do we build new content around an event that exists for everyone, rather than being something separate? That was the impetus behind that. I believe it tied into Oracle—we like building stories and depth into those heroes and making that all make sense for people.

We got a bunch of good data from it and then we did a more traditional event around the Lunar New Year. But so much of our focus has been on getting Reborn up and running and that was something that we were doing without talking. It wasn’t very out in the open for a long time. We weren’t making huge investments publically in events as we have in years past because we were pretty invested in Source 2.

PCG: I remember a postwritten in the aftermath of the Diretide that didn’t happen, that said ‘this is how we’re going to change how we communicate’. There seems to be a little bit of tension in the way Valve communicates between that openness and the desire for those big reveal moments. There are times when it’s a case of ‘silence, silence, silence, silence, then suddenly something new.’ Does that all-or-nothing difference need to be smoothed out a little?

EJ: We still feel that, fundamentally, our strongest form of communication is software. You can discern everything we’ve done and everything we’re thinking by reading through an update. We think that there’s some amount of value in just surprising the community with something you didn’t think was coming and we wouldn’t want to lose that. But we hear when people are saying that we do a poor job at communication and some of it’s an artifact of the type of company that we are. I think sometimes it turns to what I feel is a place that’s not super accurate, like ‘Valve doesn’t care’. We care a huge amount about our users and our community.

Dota Reborn 1

PCG: There’s an orthodoxy for community management among people who run online games. Valve is really different. There’s no video person who’s in front of people every day.

EJ: Exactly. I guess we just take a different approach. Instead of a community manager, the person that you’re going to hear from at Valve is somebody who is working on the game every day. There’s a currency of time that we’re all investing into our products, and we could either be getting what looks like community management or we could be working on the next hero and it really is that kind of tradeoff.

In our heads we’re constantly saying, fundamentally, ‘what do I think I could add the most value to?’ But the question really is, ‘what does the community want me to work on today?’ If we told everybody what we were doing, would they say ‘oh, that’s the right thing to work on’? That’s how we’re testing the decisions we’re making. When an artist’s saying 'I could make a blog post about what happened last week, or I could start sketching out what Pit Lord’s going to look like' they say 'I think people just want me to make Pit Lord.'

PCG : There’s a certain degree of trust on both sides there, right? You’re trusting that you know what the community will respond best to, but you’re also asking the community to trust that that’s what you’re doing. They don’t have that information. There’s no sense of even how big the Dota team is or what day-to-day looks like. That’s the flipside. Do you think that you need to let people in a little bit more, or simply refresh that trust from time to time?

EJ: It comes up often enough that certainly it’s something that we need to look at.

"We certainly don’t want to come in and enforce our set of rules."

PCG: Something that seems to have not come up for a while is player behaviour. There was a bunch of different approaches to the report system and—must be more than a year ago now—some data about how it affected things. Is that something to return to post-Reborn? Because that’s one of Dota’s problems, as a piece of software—people. Is that something that should get more attention?

EJ: It’s not something that currently bubbles up super high, at least in terms of what we see in terms of feedback. But there are people at Valve who look at that problem almost continuously.

PCG: For the platform as a whole? For Steam?

EJ: For Dota also. Matchmaking and behaviour in Dota have a pretty strong relationship. So the same people look at those problems all of the time.

PCG: We talked about community management in terms of PR, but it also concerns how the community talk to each other, the language they use—is that something you feel that you can wade into? It seems a point of tension with the notion that the community is always right. Sometimes they are calling each other names.

EJ: I think the community’s reasonably good at policing itself when it comes to the type of language they use. We certainly don’t want to come in and enforce our set of rules. If the community rallies around a certain set of things that they want to make happen then we’re happy to write the code that makes that come true. We have access to a bunch of data that’s useful for us in terms of measuring how those things are being done inside of the game, so maybe our view on it is a little bit... we think more accurate.

Surely people get angry and say bad words when they play games of Dota, especially when they lose, but as a whole, if you walk around this event…

PCG: ...people are nice in real life.

EJ: We fundamentally love our customers and our community. We’re not really willing to go to the place where we feel that we need to make a bunch of decisions about the content they create for each other.

Dota Reborn 2

PCG: Related is the newcomer experience. It’s something that you’ve experimented with two years running at this event and in terms of the game itself. Dota’s other big problem is its accessibility. How has your approach to that changed? You did the first spate of tutorials a year and a bit ago. You’re doing new ones for Reborn. What was the thinking behind that?

EJ: It was a little bit of ‘hey, let’s go back and revisit this and tinker with it’. Dota has a lot of users so its accessibility actually seems pretty great. People tend to play the game and keep playing it for a really long time. I think, fundamentally, people come into Dota 2 the same way they did with DotA 1—one of their friends is playing Dota and they want to play games together, and that’s how they get into the game. But, especially around the International, we cast the net pretty wide because there could be a bunch of people who want to try it out and see if it’s the thing for them. The training maps, that’s their goal.

Same as the new player stream that happens with the event. The audience for that might be a bunch of people that just want to show, say, their parents. Clearly there’s no strong business motive for Valve to get a bunch of parents to watch Dota when they’re probably never going to play it, but there is a bunch of value in a bunch of fans feeling good about the product that they care so much about. Does that make sense?

PCG: That’s an interesting angle. Speaking to you before, and speaking to others from Valve, I understand that you serve the audience that you have. But what if you want somebody else to join that audience, somebody who doesn’t already have a channel into it?

EJ: As with any problem, you want to make it the simplest possible problem. Valve want people to play Dota. They’re only going to do that if they’re having fun. If they’re not having fun they’re going to go and do something else because entertainment time is hard to come by. We don’t make our world super complicated—‘what region should we go into where we think a certain percentage of users would be playing Dota?’ ‘What’s the demographic of our users?’ We’re like, ‘how do we make a bunch of people happy’. That’s really all we’re trying to do. With this event, it’s ‘how do we make the people who come here super happy’. When people are playing Dota or using Steam or playing Counter-Strike: how can we make our existing customers super happy so they tell their friends, ‘hey I’m super happy come play this game with me’.

"There’s this pull towards a bunch of short-term good, long-term awful decisions."

PCG: Does that allow you to take a longer view? I was wondering if you’d seen a lack of growth because of the lack of landmark updates during the time that Reborn has been in development. The rate of new hero additions has dropped off dramatically over the last couple of years, from 13 in 2013 to three last year, one so far this year. In other games those things are done specifically because it gets the game back out in front of people again. Do you feel the need to compete in that way?

EJ: We’re still growing pretty well in terms of users. We were at eight and a half million users this time last year and we’re at eleven and a half million this year. Again, like, it’s data that tells us that we’re pushing things forward but we’re not driving at some magic number and we’re not driving towards growth. I feel like—let’s just keep making people happy and keeping them entertained, because that’s a hard enough problem—to convince someone to spend some of their very limited entertainment time on a thing we built.

You asked if this is the long play on things? I hope so, because everything we do at Valve, that’s how we try to approach it. We’ve always felt like there’s this pull towards a bunch of short-term good, long-term awful decisions that are just sitting there waiting for people take all the time. We’re sad when we see other companies do that. As long as Valve’s been around, our decision has been to just do the long-term thing. That’s the company we want to come in to work at every day. Not some silly short-term decision being made.

PCG: Finally, Pit Lord. Question mark?

EJ : It’d be awesome if Pit Lord was in the game. I don’t actually know, though.

PCG: Fair enough. Valve things.

EJ: Looking forward to those five-man teleports, though.

Still hungry for Dota 2 hot takes? Check out Three Lane Highway.

GREG: Number-crunching Mathematical Goodness

If you like math, are a quick thinker, and have a flair for competition, then Marco Torretta’s mathematical puzzle game GREG may be just the sort of challenge you’ve been looking for.

The idea behind GREG is simple: Tap the correct combination of numbers on screen to match the total displayed on the top as fast as you can before the timer runs out. The numbers on the board also operate based on a ‘temperature system,’ in that you must cool them down by quickly performing additions, otherwise they start to burn.

GREG, which is derived from the word ‘aggregate,’ is marketed as a brain training game that allows you to showcase your brain power through completing special combos and tricks, and also has the potential to work in educational settings.  There are a slew of achievements to unlock, encouraging players to constantly improve their scores and simultaneously their ability to think on their feet when it comes to adding sums quickly. And for anybody who thrives on competition, you can challenge your friends and show off your prowess with in-game leaderboards.

Get your math on by having a go at GREG from the iTunes store for $1.99, and for the latest GREG news be sure to follow the game on Twitter.

Brothers in Arms: Furious 4: Why I’m a grudging convert

The reaction to the announcement of Brothers in Arms: Furious 4 by Brothers in Arms fans was at best mixed, at worst downright hostile.

Tim getting converted

The reaction to the announcement of Brothers in Arms: Furious 4 by Brothers in Arms fans was at best mixed, at worst downright hostile. This offshoot flies in the face of what we expect from the Brothers in Arms series. It doesn't center on the 101st Infantry. It doesn't feature Matt Baker. It isn't a realistic tactical shooter. And it doesn't offer a soppy view of American heroism in Europe.

I had exactly the same reaction. Yet after watching four Gearbox devs play through an early mission… I'm absolutely fine in taking a break from Baker.

The game is a four player co-op shooter, played online with friends, or with bots. Think of mapping Borderlands XP and upgrades and unique character abilities to Wolfenstein. It's hyperactive, gory and stylistically all over the place – mixing chainsaws, Nazi's, pulp English accents and the Eels into a complete dogs dinner of ideas – but it's held together with sheer enthusiasm and a kind of insane filter of stupidity. Furious 4 goes above and beyond to entertain you.

The demo opens with our Furious 4 setting out to kill Hitler. 'Somewhere in Germany', says the overlay, Hitler has been hiding out in a castle. The road to the castle is via a funfair, and guarded by mean looking airships and hordes of guards.

It begins with simple run and gun mechanics, with a level of cartoon gore that was unexpected. Nazi heads pop into the sky when clipped in a head-shot. Ragdolls pinwheel when caught in the blast of an explosion. And corpses are flung back with violent force when caught with every character's unique off-hand melee/flung weapon – tomahawks, pick-axes and cattle-brands.

Furious 4 has elements of a skill–shots. Every few minutes in the demo, the team is presented with a challenge; blow up three explosive barrels, or snipe three gas pots as you drive through a German pub. It also transplants some of Call of Duty's perk systems to a single player game – with XP rewards for killing set numbers of infantry, or getting set numbers of headshots.

The XP is spent on buying perks – in our demo Montana, a character with a giant gatling gun, upgraded the bear traps he was carrying around with a grenade, placing them around a pub the team had to defend and gleefully watching Nazi soldiers panic as they realised their fate.

The demo climaxed with an attack on a dual rotor helicopter thing in front of a giant ferris wheel. The action paused for a moment to explain the objective; an arrow appeared with the caption 'Blow This Up'. First, jetpack toting Nazi's had to be shot down, before the player grabbed a rocket launcher and show down the helicopter. The chopper smashed into the ferris wheel, freeing it from it's scaffold, which then wheeled into the towers of the Bavarian castle the team were meant to be assaulting.

At the start of the demo, the Gearbox team were keen to point out that they would still be producing a sequel to the Brothers in Arms: Hell's Highway, continuing Matt Baker's story. But I think Furious 4 shouldn't be viewed through the lens of the previous Brothers in Arms games. It's silly and stupid, and over-the-top. But it's also outrageously entertaining, and I left the theatre with a grin on my face.

Enthusiasm counts for a lot.

Valve to show strategy game at Gamescom 2011

CVG have noticed that the official Gamescom website lists Valve in the strategy section.

Dota 2

website lists Valve in the strategy section. This very strongly suggests that we'll see DOTA2 in Cologne next month as the Dota follow-up is the only strategy game Valve are known to be working on at the moment. We anticipated thiswhen we first heard Valve would be attending the show, but it's still very exciting. We'll get to see whether the recently leaked DOTA 2 patch notesare correct.

Of course it's possible that Valve aren't showing off DOTA 2, but instead revealing a mystery strategy game, but that seems unlikely. Whatever they're showing though it's definitely not going to be Half Life: Episode 3, not that that ever stops the perpetual rumours.

Tiny Diver: I’d like to be Under the Sea

Somewhere near an octopus’s garden , is a teeny tiny diver braving his way through the shady seas.

, is a teeny tiny diver braving his way through the shady seas. Ina game by Ireland based App Wave Studios, your job is to explore a vast underwater empire complete with challenging quests, the chance to upgrade weapons and vehicles, and shooting rather adorable looking enemies.

The cutest killer whale you’ll ever meet

Gameplay in Tiny Diver is simple and straightforward: Tap the screen to keep afloat, and let go to fall. Simple and straightforward of course, doesn’t always equate to being easy. While you collect bubble wrapped coins, and complete exciting quests to further increase your bounty, you must also beware of the various obstacles in your path, which include deadly jellyfish, sharks, killer whales, torpedoes, and some not so nice-looking octopi. Swim away from danger long enough to get massive scores, unlock achievements, and compete against your friends on Facebook.

You can engage in some deep-sea diving today by downloading Tiny Diver absolutely free from the App store, or if you’re an Android underwater explorer, the Google Play Store. And don’t forget to check out the official Facebookpage and follow the game on Twitterfor the latest exciting updates. Happy swimming.

Animal Crossing: New Leaf, Fire Emblem: Awakening set for first half 2013

Nintendo let the fanfare soar for the Nintendo 3DS in its most recent live streamed direct presentation , giving handheld gamers a lot to be excited about in the coming months. While we already knew about many of the items, the 3DS pep rally brought new info and trailers for anticipated games like Animal Crossing: New Leaf and Fire Emblem: Awakening . The next game in the Animal Crossing series of

Valve's small San Francisco group disbands, forms new indie studio

Well, that didn't last long.

PC Gamer reportedback in December 2012 that Valve had taken on a couple of San Francisco-based employees, formerly of Star Filled Studios. According to Valve-eyeballing fan site ValveTime, though, that small team has now departed after less than a year with the venerable developer/publisher, going their own way with a new studio called Temple Gates Games.

Unlike the rest of the gaming world, Valve are generally too cool for the usual game dev hotspot of San Francisco, instead choosing to base their HQ in Washington. The small San Francisco team consisted of Tod Semple and Jeff Gates, who had both worked previously with Blizzard and PopCap, as well as Steve Desilets, who had previously worked with Valve in 2005 on Half-Life 2's Episodes.

Semple has now confirmed with IGNthat he and Gates have left. "Jeff and I are working on indie games again," he said. "We were working for Valve in a remote office in San Mateo. It turned out that there weren't many benefits for either side in that arrangement."

Under the new name Temple Gates Games, the pair will be working in the same office (gifted to them upon their departure by Valve), and will also continue to work on their game, which remains unspecified but "probably will make millions," according to Desilets' blog. Desilets, sadly, won't be joining them; he was "offered a seat back in WA," presumably again with Valve, but he's opting to stay in the Bay Area to try his luck with F2P and casual games.

Despite the apparent tension in the long-distance agreement, Valve had only praise for its former San Francisco employees. "We were big fans of their prior work," they said in a statement to IGN. "We worked with them during their startup phase, but they're independent now and still working on their game. We wish them the best of luck."

Kickstart This: Seasion Looking For a Few Good Shooters

New Zealand is not only home to sheep and hobbits; it’s also home to game developer Benjamin Hull, the force behind the Darkseed Games blog .

. Now, Ben has designed a game of his own, and he is looking to the gaming community to give him the financial push he needs to finish the project.

Seasion is a top-down arcade-style shooter, implementing some RPG elements and old-school game style in a science fiction wilderness. You will take on the role of a native of a faraway planet, who has been frozen in “eternal sleep.” The planet itself has awoken you to protect it; an unknown race has come to your homeworld and is in the process of invading it. Everything is in ruins as these usurpers terrorize the indigenous people and steal the world’s valuable natural resources. As you work to retake the planet, you must delve into your own subconsciousness to resurrect the memories of you past, which will help you in your quest.

Hull, being a one-man army, is striving to keep his aims realistic. He anticipates that Seasion will have a single campaign between ten and fifteen levels, and will encourage replayability through the use of random game events, random loot drops, and multiple exits. A skirmish mode will also be included, both for fun and to assist with level-grinding, and the missions will unlock additional skirmish maps. Although the game is intended for PC, and will be submitted to Steam Greenlight once everything is ready to roll, Seasion is being designed to work with Xbox controllers. However, keyboard and mouse controls will also be an option.

Shooter enthusiasts who would like to help Seasion get off the ground are encouraged to check out the Kickstarter. Backers who pledge $15 NZD or higher will receive free copies of the game and a mention in the thank-you credits. Good luck saving your home planet!

Teleglitch is free on Humble Bundle

Very good Quakelike roguelike Teleglitch: Die More Edition is currently free on Humble Bundle , the only price of entry being your email address (you can untick to subscribe from the Humble newsletter).

Teleglitch Die More Edition thumb

, the only price of entry being your email address (you can untick to subscribe from the Humble newsletter). That would be worthy of a news post all on its own, but it's accompanied by another great indie bundle (sorry, inDIE bundle—it's Halloween), which contains OlliOlli, Insanely Twisted Shadow Planet, and Tower of Guns at its base, pay-anything level. By beating the average, you also get Amnesia: A Machine for Pigs, four copies of Risk of Rain, and Jazzpunk, which we scored 92% back in February.

More games will be added to the Beat the Average tier in the near future, but if you fork out $12 or more you'll get a copy of Shadowrun Returns (the original, not its improved, now standalone sequel) thrown in too.

It's not clear how long Teleglitch will be available for free for, but the terms state that you have to redeem the game key by the 25th of November, so get on it if you like the look of the game. Phil liked 84% of it when he wrote our reviewlast year.

IGM Forum Find – Spandex Force: Champion Rising

You know what I miss some days?

Puzzle Quest . The three matching, combat system was top notch, especially when expanded in the sequel. The thing I loved most, however, was the character progression; watching and feeling my adventurer get more powerful as I crafted him through the levels and hours of gameplay.

But I couldn’t help thinking that I really wished there was some form of superhero version of a progression-driven, three-match game that I could enjoy in a genre a little closer to my heart… Oh wait, KarjaSoft just releasedfor Windowsand Android, as well as a free demofor anyone interested in trying before buying!

Spandex Force: Champion Rising is a three-match, character progression driven game set in the modern day where you craft a superhero through seven different types of mini games, four different endings and 30 different villains and super villains to fight. Is this sounding familiar? It may be because we actually have a great review of this game in our latest April issue of Indie Game Magazine. If that sounds like something you’d want to read, you can subscribe to the first issue of the magazine for free here, or even put down a paid subscription to receive the magazine all-year long. Sounds super, right?

While there is a full run down of the game available in our magazine, it should also be stated that Spandex Force: Champion Rising will soon be available on iOS, Android and Mac devices. If you’re curious in following up to date information about the production of the game, make sure to check out our forums, or KarjaSoft’s blogand Twitter!

...

Jump to Section: Best Price Comments Pros It's only $39.99 Character lineages remain intact It's good to see Jak in HD Cons Feels like a waggle game Some game types are unresponsive Sly looks funny with fur Ratchet and Clank, Jak and Daxter, and Sly and Bentley are all busy doing their respective things when their worlds all get paused and they get pulled into some far away universe to battle for the

Jazzpunk trailer promotes comedy adventure through the medium of Thunderbirds

Hello, I have just watched the trailer for Jazzpunk.

Hello, I have just watched the trailer for Jazzpunk. Normally at this point, I'd use the knowledge osmosed from said trailer to explain to you what Jazzpunk is. Er, okay... um... well. Ah, yes, there was a fish, and gibs, and a Thunderbirds pastiche. Also spies, maybe? A sheep exploded, but I can't be sure of its significance. You know what? Maybe you should watch the trailer too, then we can try to suss things out together.

Right then, our next stop in this hunt for clues is to read the description in the video for this thing that is called Jazzpunk:

"Jazzpunk is the best 'First-Person Grapefruit Simulator' that money can buy."

Damnit! That's either no help, or it is, and I've been fooled into posting about a grapefruit simulator. To be honest, neither outcome is ideal. Okay, let's try again. To the game's website!

"Jazzpunk is a stylized first-person adventure comedy. As the mysterious Agent Polyblank, you'll explore a variety of retro-futuristic locations, and perform all manner of gadget-driven capers. The tone of the game is cartoon cyberpunk; dense technology-infused locales, dripping with a fresh coat of colour and humour."

Success! We now know what the game is and, personally speaking, I'm quite looking forward to meandering around an indulgent comedy game that borrows heavily from a warped '70s movie aesthetic.

Jazzpunk is due out This Winter.

Thanks, RPS.

...

Jump to Section: Best Price Comments Pros Decent weapon variety but not up to Resistance standards Multiplayer is somewhat entertaining but offers nothing special Survival mode is fun Cons Uneventful story mode Sound effects are sub-par and unpolished Clunky controls Go to page: Page 1 Page 1 Page 2 The Resistance series has made an impression on the FPS genre with its unique array of weapons, memorable

Emerging out of the Global Game Jam of 2014, how do you Do It? is the result of the collaberation between

Nina Freeman , Jonathan Kittaka , Emmett Butler , and Decky Coss . They've all variously worked together in the past, although rarely all at once, on titles like Ladylike, Heads Up! Hot Dogs, and Space Dad. How do you Do It?

Road to the IGF: Nina Freeman's how do you Do It?

tackles the innocence of the question of exactly what sex is, and how that question is approached by those too young to really have an effective way to answer it. Nominated for the Nuovo award in this year's IGF Main Competition, it's come a long way from its Game Jam beginnings.

We talk to the entire team about how do you Do It? from the production to the intent, and a few things in between.

What is your background making games?

Jonathan Kittaka (artist) : I played around with many game engines growing up: ZZT, GameMaker, OHRRPGCE, etc, but didn't finish anything substantial. In college, a mutual friend put me in contact with Sean Hogan and we made a game called Anodyne together. Since then, I've been working on a second main project with Sean, while working on other smaller projects occasionally.

Emmett Butler (programming/design) : I started making games as college projects, and my first jam was the What Would Molydeux? jam in 2012. I also worked on Heads Up! Hot Dogs for iOS, which was published by Adult Swim games.

Decky Coss (Music/SFX) : My background is in music composition, which I started as a teenager by transcribing and arranging music from Sonic the Hedgehog . I entered college pursuing a degree in music technology, and accidentally learned computer programming and game design while I was there. Around the start of my second semester, my friend Michael Bartnett encouraged me to sign up for the 2011 Global Game Jam; I wound up contributing music and puzzle designs to a variant of Conway's Game of Life called Death 2 Plants . Since then I've done about 10 games, and I've become competent enough at programming to make my own game engines.

Nina Freeman (programming/design) : I started making games about two years ago. I did my undergraduate degree in English literature with a focus on poetry, which is where I became interested in creating work about ordinary, everyday life experiences. Soon after finishing that degree, I met Emmett Butler and Diego Garcia who were working on a game together called Heads Up! Hot Dogs . Watching them work on the game inspired me to try my hand at game development too. I saw game design as an opportunity to explore the everyday life and individual experiences I'd been writing about in my poems in a new way. I still loved writing poetry, and poetry is still a core part of my design process, but I felt attracted to the opportunity to use games to help people embody life experiences that they may not have otherwise. Since then, I've worked on a number of vignette games such as Ladylike and A Pretty Ornament I Made .

What development tools did you use?

Jonathan Kittaka (artist) : I used Photoshop CS5 for HDYDI's graphics.

Emmett Butler (programming/design) : For h ow do you Do It? , we used an Actionscript library called flixel, and an Actionscript port of the C++ physics library box2D.

Decky Coss (Music/SFX) : I used Renoise and Native Instruments VSTs to compose, sequence, and produce a rough mix of the music, and Reaper to create the final mix. I also used Reaper to record and mix the sound effects.

How long have you been working on the game?

Nina Freeman (programming/design) : We made it in three days at the last Global Game Jam. We came up with the concept pretty quickly, and somehow managed to pull it all together within that span of time. We haven't made any significant changes since.

How did you come up with the concept?

Nina Freeman (programming/design) : This game is based on a personal experience I had many times as a child. Sometimes, when my mom would leave the apartment, I would hide under my bed with my Barbie dolls so that I could bang their plastic bodies together in an effort to figure out how human bodies fit together to have sex. Sex was never explained to me, and it wasn't talked about at home. Naturally, as a kid, you're curious about the world around you, so I was pretty desperate to understand what I was seeing in movies like Titanic, especially after hearing the kids giggle at school about how they saw "the sex scene". So, " how do you Do It? " is based on all the time I spent using my dolls to simulate what I thought sex was when I was a child.

How do you do it?' s controls are charmingly clumsy, in a way that is remarkably appropriate to the theme. Is that a happy coincidence or entirely intentional?

Emmett Butler (programming/design) : We played around a lot with the controls before landing on something that felt right. At first, we were implementing mouse controls for manipulating the dolls' limbs, but we decided that giving the player less control felt simpler and funnier. The controls would also translate well to accelerometer-enabled mobile devices, I think.

Nina Freeman (programming/design) : The clumsy controls are intentional. When I was playing with my dolls as a kid and banging them together to "do sex", I honestly had no idea what I was doing. Sex was just a really big hug for all I knew. So, of course, it was awkward when I was playing with the dolls, because I didn't really understand what I should be doing. I was just trying whatever came to mind, and most of what came to mind was silly hugs, or just banging their faces together. It was really important to convey that lack of understanding and the awkwardness it entails.

Sex is something that video games have struggled with in all sorts of ways, and never really attempted to tackle meaningfully. Do you think it's just general prudishness or something more problematic with the medium?

Decky Coss (Music/SFX) : I disagree with the premise of this question. I think there are quite a few videogames that have attempted, successfully, to deal with sex meaningfully. Some contemporary examples include poyborn's HUNGRY , merritt kopas' Consensual Torture Simulator , and Christine Love's Even Cowgirls Bleed . So my answer to your "either-or" question is "no". "Videogame" is just a term we use to describe a playful experience governed through the execution of a computer program—you would gain no more from blaming the medium than you would from blaming the canvas you paint on or the piano you compose at. Prudishness is clearly not the answer either, as big-budget game developers have skillfully used near-pornographic depictions of women to great financial success.

If instead you ask "why don't the most celebrated games of our culture deal with sex well?", I would respond simply that our culture sucks. The men who control the dominant videogame cultures of North America and western Europe do not have an incentive to nurture challenging explorations of basically any aspect of the human condition, whether it's female sexuality or colonialism or economic injustice. That's not what they're paid to do. So it falls to the "indies", the fringe, to pick up that slack. But as critics like Liz Ryerson and anna anthropy point out, the indies with the most clout generally happen to be those who remind us most of the dominant culture: guys who get rich by, in anthropy's words, remaking Mario . Our videogame culture at large follows a socioeconomic model that bestows the greatest rewards upon those who have the least to say.

Nina Freeman (programming/design) : There are some games that explore sex in an interesting and meaningful way-- Luxuria Superbia and Ute , for example. However, there's not necessarily enough exploration of sex in games, and the world could always use more honest and interesting depictions of sex. It's a huge part of life that we should all be thoughtful about. Unfortunately, at least in America, we live in a culture where individuals are taught to keep their sex lives very private, which can be unhealthy. For example, it's pretty standard for women who are outspoken about their sex lives to be slut-shamed or harassed. Sex is a taboo, especially when people are honest about it. Fortunately, despite culture, people will continue to make games about sex because sex is a part of life whether our culture likes it or not, and hopefully we'll see more and more of these games in the future. Accessible platforms like Twine and Unity will help with this--we will see more people making games about sex just by virtue of more people making games.

Have you played any of the other IGF finalists? Any games you’ve particularly enjoyed?

Emmett Butler (programming/design) : Rooftop Cop , Desert Golfing , BECOME A GREAT ARTIST IN JUST 10 SECONDS , and Killer Queen are all phenomenal projects.

Decky Coss (Music/SFX) : I love BECOME A GREAT ARTIST IN JUST 10 SECONDS and I once briefly considered asking Spike Lee to play Killer Queen back when the cabinet lived in NYU Tisch.

Nina Freeman (programming/design) : Everyone should go play Rooftop Cop right now.

Sony actually has 25 new Vita games at E3... but forgot to mention them

We were all ready to write an article about how Sony completely failed to recognise the need to show much-needed new games for PlayStation Vita at its press conference on Monday. We knew it was necessary, you knew it was necessary - everybody, it seems, knew it was necessary. Except Sony, who have today admitted that, in trying to cut down the length of its press conference, they missed out the Vita

Jazzpunk release date announced, oddball espionage comedy launches in early February

JAZZPUNK!

It's a punchy and satisfying word to shout in bars, at interviews, and in the middle of conversations. That's what I've been doing ever since I played the IGF preview build last month. Little surprise then that the comedy espionage adventure was nominated for the competition's Seumas McNally Grand Prize. Today, creator Luis Hernandezannounced both the mysterious appearance of the game's Steam page, and JAZZPUNK! a release date of February 7th.

As the Jazzpunk website explains, the game is a comedy adventure, in which you must explore and interact with an espionage-obsessed world. It's frequently hilarious: taking the absurdism of a game like Gravity Bone, and running it all the way to a natural, joke-packed conclusion. Actual laughs have been heard, out loud, in the PC Gamer office, as various staff members did unsavoury things to a pigeon. Er, in the game.

Beyond the joy of playing a game filled with funnies, it's good to see a developer having fun with the format. These exploratory adventures have, over the last couple of years, started to shift from the Art Game seriousness of something like Dear Esther, into well-honed dissections of a particular theme. Gone Home was the aftermath of a soap opera, using the medium for small-scale character drama. The Stanley Parable was a meta-comedy, twisting itself into knots to fully explore every permutation of user interaction. I've only played a few levels of Jazzpunk, but its focus seems equally pure. It just wants to make you laugh.

For more Jazzpunk, you can read my hands-on previewof the IGF build. Alternatively, watch the below trailer, which doesn't really explain anything, but is entertaining anyway.

SpyParty early-access beta now open to applicants

Ex-Spore developer Chris Hecker's SpyParty has been in development for a while now (initial word of the title started circulating in early 2009) and if Hecker's word is anything to go by, it could be another couple of years before the title is released to the public. But if you want to play the intriguing title in its current state, $15 will buy you a spot on the beta %26ndash; not to mention set you

Jazzpunk hands-on: a surreal, hilarious espionage adventure that aims to amuse

I'm helping a frog to steal wi-fi by grabbing invisible packets of data with a virtual reality headset and an extendible tongue.

I'm helping a frog to steal wi-fi by grabbing invisible packets of data with a virtual reality headset and an extendible tongue. Before that I was angering cinema-goers with thick clouds of cigar smoke, and moments later I would send a flock of pigeons to harass a security guard. None of these actions were required to complete my primary mission of stealing a cassette tape from the Soviet consulate. Instead, they were the unravelling threads of Jazzpunk's intricate patchwork of jokes.

Jazzpunk is a first-person espionage adventure, reminiscent to Blendo Games' Gravity Bone and... well, not much else in the medium of gaming. Its true source of inspiration lies in cinema, specifically from comedy films. Even more specifically from good comedy films, like the joke-packed hijinks of Airplane or Naked Gun. Down every alleyway, on every sign and in every interaction you'll find another throwaway gag poking fun at the tenuous reality of the game's surreal and conspiratorial world.

Despite using the plot beats of a spy thriller, you're never in any actual peril. Instead of high-stakes tension and potentially frustrating fail-states, you're encouraged to take your time in each area, collecting up quick-fire vignettes of humour. It's an ambitious focus for the developers to take, if only because comedy is so subjective, but the dense fug of slapstick and one-liners create a pace that works in Jazzpunk's favour. It doesn't really matter if one of its jokes falls flat, because another will appear a few steps down the round.

From the opening briefing, to the escape sequence that closes out the short IGF build that I played, Jazzpunk is continuously throwing up smart new ways to deliver this humour. A chance encounter might lead to a few lines of dialogue, or expand into a sprawling side-quest filled with strange interactions and gentle puzzling.

Those puzzles are never so involved as to be taxing, but do push you towards noticing your surroundings. Each level has a main objective, usually requiring that you manipulate nearby objects to set off a chain reaction that, while exaggerated, never succumbs to adventure game guesswork. In the first mission, that means breaking into the consulate, entering an alternate cyber-dimension, and infiltrating a telephone network with the help of "Komrad Krunch" cereal. No really, this all makes sense when you're doing it.

While, on the one hand, Jazzpunk seems to delight in its own weirdness and abstractions, there is an almost oddball consistency to its setting. Whether it's the punning saxophonist, the faceless NPCs or the pull-string activated agent, you'll experience frequent riffs on a technophile society, the nature of anonymity and the intrigue of rival organisations.

How much those themes spiral into a full story remains to be seen. By the end of the demo's two missions I'd stolen cartridges and harvested organs, all for the deep-voiced mission controller back at the protagonist's Darlington base. To what purpose remains unknown, but it would be nice to think there was some plot to connect the game's many funny vignettes.

It's just as likely there isn't, opening up the possibility that Jazzpunk is more interested in style over substance. Except, because it's so effortlessly inventive in its presentation, the style feeds naturally into the substance, inexorably linking the two with fake hands and fly-swatting minigames.

However much purpose Jazzpunk ultimately has, it's still primed to be an enjoyable and aesthetically striking adventure. It's a visually playful game, as evidenced by the stark subtitles that accompany - although don't always correspond with - NPC speech, and in the way that its cutscenes will ape classic cinematography, but filter the results through the surreal lens of a world in which every word is a real object and everything can be interacted with.

The dedication to freedom is the key to why it works. While Jazzpunk's strongest comparisons are to film, the majority of its jokes arise from how you manipulate its world. In effect, it's the next game to ask the question of what a game can be. Unlike the ponderously harrowing Dear Esther, the narratively taut 30 Flights of Loving, or even the amusingly self-reflecting Stanley Parable, Jazzpunk's answer feels more celebratory. Games can be funny as a primary design goal.

It's not only acceptable to be gaming's Airplane, it should be encouraged.

Jazzpunkis due out January 2014, and is available to pre-order now.

StreamTeam Spotlight: Sarah Sharpie

Welcome to the first installment of StreamTeam Spotlight, a new series debuting on IGM intended to showcase just a fraction of the talented streamers and developers who are a part of our Indie GamePlay community.

Welcome to the first installment of StreamTeam Spotlight, a new series debuting on IGM intended to showcase just a fraction of the talented streamers and developers who are a part of our Indie GamePlay community. Every week, we’ll profile and interview a new member to give our audience the chance to get to know some of their favorite streamers off-camera/mic. Today’s spotlight falls of Sarah Sharpie, a streamer who plays a wide variety of games on a daily basis. Take a look:

Name/Online Alias : Sarah Sharpie
Region : USA
Current PC Rig :
OS: Windows 7 Ultimate
MB: ASUS P8Z77-V LX
CPU: Intel Core i7-2700K @3.5GHz
Monitor: 23″ LG Flatron w2353v, Samsung SyncMaster 220WM 22″ LCD
GPU: ASUS GeForce® GTX 660
RAM: G.SKILL Ripjaws X Series 16GB DDR3
HDD: Seagate Barracuda 1TB/7200RPM
Mouse: Razer Naga Epic
Mouse Pad: Razer Goliathus Speed Edition – Large
Keyboard: Razer BlackWidow Stealth Edition 2013
Favorite Game Genre : Platformers
Favorite Games : Armored Core and Monster Hunter
Other Hobbies : Watching people create art. I really love art because i can’t do it myself. Art in the general sense, not just drawings and stuff but music and dance as well.

Indie Game Magazine : When did you first start playing games?
Sarah Sharpie : Well it started with my Super Nintendo, mostly Donkey Kong Country and Mario . Then I got a PS1, N64, and PS2, and that was my childhood. My older sister and Dad loved games too; my Dad is amazing at Pac-Man .

IGM : What were some of your favorite games from those systems?
Sarah : Crash and Spyro are what I remember the most, and DK , so Platformers I guess.

IGM : When did you first start streaming?
Sarah : May 19th, 2013. My friend was going on vacation, so i decided to stream for him so his viewers had something to watch.

IGM : Why do you enjoy streaming?
Sarah : I just play games to make people happy to be honest. People say I’m good at games, but I don’t think I am. Apparently my title from everyone is “Princess of Platformers” now.  (Sarah’s first time playing Volgarr the Viking , she beat the game in 3 hours!)

IGM : What types of streams do you host (Let’s Plays, Previews/Reviews/First Looks, Giveaways, Developer Q&As, etc)?
Sarah : My streams are more centered around hanging out, music, and viewer interactions. I’m also planning on playing games with my viewers soon.

IGM : Do you prefer to play multiplayer games online? Or do you enjoy local co-op more?
Sarah : If I had to pick one, local co-op, but i do like both.

IGM : You play a really great music setlist while you stream. Is that your personal collection or a radio station of some sort?
Sarah : Personal collection, I have 5090 tracks on my HDD.

IGM : Do you have a favorite game soundtrack in particular?
Sarah : Probably the Armored Core Nexus soundtrack. My favorite remix soundtrack is The Answer – Armored Core Tribute Album.

IGM : What made you decide to join the Indie GamePlay StreamTeam?
Sarah : I love communities. I’m also part of another one that’s just a group of friends called NLG (nightlifegaming) with HJTenchi, Biwinningism, and others.

That’s it for this week’s StreamTeam Spotlight! If you’d like to watch some more of Sarah’s streams, you can check out her Content Hubon Indie GamePlay. To keep track of her stream schedule so you never miss a live stream, you can follow her on Twitter @SarahsSharpie.

Streamer Spotlight is a weekly segment created to showcase members of the Indie GamePlayStreamTeam. Participants are chosen at random, and interviewed upon accepting an invitation. If you’d like to be considered for the feature, please send an email to vparisi@indiegamemag.com with the subject line “Streamer Spotlight”. Spotlight participants are not required to disclose their full name, and all information is published only after participants approve a pre-screening of the completed Spotlight. If you’d like to join to StreamTeam community, you can register here. Tune in next week to see which streamer enters the spotlight. Until then, come play some games!

Kabam president Nick Earl resigns after 11 months

Kabam president Nick Earl has left the mobile studio after just 11 months at the helm.

Earl, EA's former SVP of mobile, said he had "mixed feelings" about leaving the company, but that the company's change in direction meant it wasn't "the right place" for him at this stage of his career.

Kabam CEO Kevin Chou inititally hired Earldue to his experience working on triple-A titles, however, with the developer now focused on creating and sustaining mobile games such as Marvel Contest of Champions and Star Wars: Uprising, it appears Earl feels his skill set is no longer needed.

"When I joined last year, I had the opportunity to help shape Kabam’s Fewer, Bigger, Bolder strategy, which included doubling down on Hollywood partnerships and creating triple-A mobile games. Almost a year later, it’s clearly 'job well done' and Kabam is now a very different company," explained Earl, via Kabam's blog.

"Given this new direction [...] I have decided that Kabam is not the right place for me at this point in my career. So, today is my last day with the company."

Neptune Rising Brings Back Old School Horror

The Athens-based indie developer Demigod Studios just announced their new project, a survival horror game called Neptune Rising .

. The studio promises that Neptune Rising will bring back the nostalgia of classic survival horror games with dark corridors, limited resources, areas to explore, lots of puzzles, a scary atmosphere, and item collecting, wrapped up in a compelling storyline with a ton of zombies. The intent for Demigod is to bring survival horror gaming back to its roots.

The game will feature entirely real-time graphics, created using the Unity game Engine. Neptune Rising will make use of a static and semi static camera like other traditional survival horror games. The game will also utilize both tank-like and freestyle controls, meaning whichever way players push the stick is the direction the character will go.

The announcement itself doesn’t linger on any specifics, so we don’t yet know a great deal else about Neptune Rising at this time. What we do know is that Neptune Rising is currently in development for Windows PC with no set release date. Learn more about the game by visiting the official website. You can also follow Demigod Studios on Twitter, ‘like’ them on Facebook, or visit their websitefor more info.

Blade Symphony Review – Cacophonous Clashing

It’s no secret to anyone who knows me that I’m a fighting game enthusiast.

It’s no secret to anyone who knows me that I’m a fighting game enthusiast. I get into the complex mechanics, the show-offy moves, the mind games, and high execution curves. When I saw Puny Human’s Blade Symphony , a tactical sword-play 3D fighter, I knew I was in for something good. Created in the Source engine, the game was originally a Half-Life 2 mod, and in 2011, the company ran a successful Kickstarter. It is hard to believe, but yes — this beautiful-looking title is an indie production. Totaling five years in development, I’ve looked at the Early Access version of the game, so keep in mind that many features of the game can change or improve.

Gameplay in Blade Symphony is fairly straightforward. Users can engage in one-on-one fights, facing off in a two-round battle. Lowering the enemy’s life bar leads to victory, which can be achieved by using a variety of blades: Katanas, rapiers, jians, longswords, and so on. Swings are decided by three main factors. Anyone has access to three stances; fast, balanced, and heavy, which differ in number of swings and their animations. Any attack can be held to increase its power, and finally, you can do a sideways variant if moving. Jumping — a somewhat awkward, high hop that falls really fast unless you execute an attack — is also possible. I’m also a fan of the soundtrack in the game. A duel will pick a fast-tempo, piano-electronica piece that goes along with the game’s theme really well, and I quickly found my favorite tune.

The blades, other than looks, have a complicated technical aspect to them. They do different damage depending on the type of interaction with the opponent, but most importantly, the mouse right-click can either be a block, a feint, or a parry, vastly changing the strategy. The most deciding aspect, however, is the character, and Blade Symphony has four right now: Agile, wushu warrior Pure, ninja-like Ryoku, fairly-balanced thruster Phalanx, and slower, stronger Judgement. Any person can be matched with any armament, but some combinations will work better than others. It was both fun and a little overwhelming, but in the customization screen there is an explanation for each weapon, though it’s just a little hard to notice at first. While it’s good to dabble in everything, I didn’t really gain ground until I stuck with one style and got to know it really well.

Combat nuances are where the game shines (there isn’t anything else to do but duel, anyway). It’s easy to find a sparring partner on one of the servers – you just come up to someone and challenge them with a button. It’s also advisable to use emotes, like sitting when you’re AFK and bowing at the beginning of a duel. The dojos, hosted on various servers, are a nice hangout spot, even if there’s nothing to do but talk and duel.  The first few hours will go very similarly for everybody: You’ll land on your cybernetic-punk warrior bottom many, many times. A few charged strikes can take a great amount of life, especially if the opponent was extending himself. Some emerging strategies are to charge heavy attacks and approach when the charging is over. When you realize charging blindly with the strongest strike doesn’t work against your current opponent, you’ll find yourself dancing in circles, as your partner is, until someone approaches with a lighting-quick strike.

I appreciate Blade Symphony for the mind games it creates. Each duel is a private face off not just in the 3D-space, but between the personality and patience of each person. The shuffling, waiting, charging, and feinting really depend on specific choices, as well as the stance switching, revealing the mettle of each fighter. The game accomplishes this, but there are also so many other games that do so.

Animations are key, and while the game is visually-stunning, with intense, oriental temples or futuristic, tech-city rooftops, there’s a dissonance between the artistic attack animations and techniques in the games. An effective playstyle equals a dizzying frenzy of jumps, jump cancels, and dodges. The jump cancelling is unfortunate in particular. It’s not mere attacking and jumping, but performing parts of regular attack strings and throwing a hop in there, which drastically affects the strategy and balance of each moveset. The better players often jump like a mosquito at tasty flesh, rather than a graceful fighter with precise moves. As detailed as the moves are, players are left to throwing things out in hopes that they’ll break through. Sure, you can definitely dodge attacks and punish missed sword heaves, but in general, what happens on the screen is not a completely pure transfer of a players’ skill.

Attacks can clash with each other if equally matched, and stronger attacks will press advantage; however, it’s hard enough to tell what happens and when for it to have an impact in the duel. Since the camera is always positioned behind the fighter, it’s difficult to tell what’s happening in front. You’ll see really good, top-ranked players occasionally losing to some beginners, and it’s unclear whether Blade Symphony wants to have skilled enough players so that they can always outmatch a newcomer, or have beginners succeed by some flukes, luck, or just a strategic approach. I got a round off a brilliant Ryoku player who expertly baited and punished my strikes, and I couldn’t tell if I got lucky, or if I already grasped enough of the game to do so. My ranking is around 6,000, and his or hers was in the 100s. While I wasn’t victorious, it’s not uncommon to see good players lose far too easily. Additionally, I found it bizarre that a time out results in a draw, even when my life bar was practically untouched, and my opponent’s was critically low. I haven’t had anyone play cat and mouse with me in the ring, but if life bars are anything to look at, this doesn’t make sense.

Maybe Blade Symphony needs to further revamp its combat system, or remove life bars completely — but something needs to be adjusted. It needs to either further tread off on a less orthodox fighting game path, or get back closer to its conventions. In between, it feels neither like a solid fighting game nor an engaging action title. Perhaps if the developers toned down the 3D movement (which not only results in a lot of circling, but the environment isn’t very interactive anyway) as well as the jumping, they could focus more on what’s coolest, and most attractive about the game — the interaction of blades. It feels too clumsy right now, and when the combat gets heated, it almost always devolves to a barrage of clicks, with a simple hope of muscling through. Occasionally, I’ve gotten hit by side strikes that don’t look like they cut through me at all, or my fast strike was beat by a heavy strike which didn’t look like it came out yet. While there’s definitely strategy involved, I’m honestly not counting on it to gain much traction in either the competitive or casual crowds, but time will tell. The tutorial mode included was immensely helpful, and getting better involves some tutelage and serious rounds of defeat, which is good. There is some depth to pick at in Blade Symphony , but it never kept me very engaged to stay studying in its dojo.

I fondly remember the PSX 1997 release of Bushido Blade , a pseudo-3D fighter with tenuous, decisive-strike combat. There, a player’s life is decided in one or two presses, putting a different kind of pressure on each player. This kind of feeling is what Blade Symphony needs.

Powered by Blogger.