The Metal Gear series has always been about great story-based, single-player experiences, which is why Konami's decision to make Metal Gear into a co-op survival experience with Metal gear Survive was concerning. Today Konami released a trailer with an extensive look at Metal Gear Survive's single-player campaign and, unsurprisingly, it's all about survival.
Yuji Korekado, a producer on Metal Gear Survive, opens the video by explaining that Metal Gear Survive, a spin-off from Metal Gear Solid V: The Phantom Pain, will take place in an alternate timeline from the mainline Metal Gear games. The survival spinoff starts where Metal Gear Solid V: Ground Zeroes ended, with the destruction of Mother Base by the villainous XOF organization. Just as the base is destroyed, a wormhole opens up and sucks in debris and soldiers alike into an alternate world. As a Mother Base soldier, players narrowly escape this fate, but several months later they are tasked with entering the wormhole and establishing a forward operating base by a mysterious organization.
After this wacky setup, the campaign quickly sets up Metal Gear Survive's resource harvesting and base-building mechanics. True to its name, Metal Gear Survive features a lot of elements taken from the survival genre. You'll have to hunt animals, cook food, gather resources, and build defenses like electric fences and turrets in order to survive against wanderers, the crystal-headed definitely-not-zombies that occupy this alternate world.
(Please visit the site to view this media)
There are main missions and side missions in the single player campaign, however Korekado focuses much more on the Base Camp, Metal Gear Survive's version of Mother Base. The Base Camp will be your home and throughout both the multiplayer and single player you'll be able to add defenses, farm crops, and create resource development facilities in order to increase its strength. Much like in the Phantom Pain, you'll also be able to recruit people and assign them to different teams within your base to increase its capabilities.
The trailer also notes that single player will be inextricably linked with multiplayer in several ways. Ammo is scarce, which means there is an increased focus on melee weapons and bows. Many of these weapons, including a flaming baseball bat, can be crafted using recipes, which can only be accessed through the co-op multiplayer portion of the game. The hardest enemies and missions can only be tackled in multiplayer. Any resources gathered in multiplayer can be used to build your personal Base Camp.
Metal Gear Survive might have the Phantom Pain's combat and visuals, but it's clearly a different beast. We still have yet to see how the survival elements and multiplayer-focused design will pan out, but we'll see if Metal Gear Survive is a worthwhile game in its own right when it launches on February 20.
If you're curious or excited to get your hands on Metal Gear Survive, you can try the beta when .
In an increasingly darker world, games like Wattam emit a powerful light to brighten your day.
At PlayStation Experience, we got a chance to play the newest build of Keita Takahashi's quirky and unique project. Takahashi, who previously created the Katamari Damacy series on the PlayStation 2, introduced Wattam to the world at the very first PlayStation Experience in 2014. At the time, the game was being co-developed by Sony Santa Monica and published by Sony itself. After Sony dropped the game, Takahashi and Funomena studio took the project to Annapurna and redesigned the game in the process.
The new Wattam still focuses on Takahashi's vision of toys making friends by solving puzzles. The game starts with the cubic mustachioed Mayor sitting at the edge of the universe and lamenting his isolation when the universe sees fit to give life to a tiny rock. The mayor makes friends with the rock by holding its hand. To add to the fun, the mayor lifts up his hat and reveals a harmless bomb that blasts everyone into the sky for a chorus of laughing fits.
After the little rock is happy, the bigger rock also comes to life and wants to play, followed by a flowers, followed by an acorn that plants itself in the ground to birth a tree, which creates fruits, which are then eaten and become poop. When enough of the characters are poop, the toilet world latches on to the Mayor's cube and the Toilet friends join in.
The toilets scoop up enough of the poop running around and clean them to a golden shine that further friends come who have their own puzzle to solve to draw in new friends. This is the gameplay loop of Wattam, ultimately culminating in a puzzle that requires all the new friends to wrap up the level.
It is pure joy in such a strange package, an entirely separate but natural follow up to Katamari Damacy. When Takahashi originally retired from video games, he said he was going to design playgrounds for children, which is exactly what Wattam feels like. The controls are slightly awkward and the interactions limited to what the game designs, but Wattam
Overkill, the team behind the cooperative heist shoot 'em up Payday, announced back in 2014 that it would be working on a Walking Dead game. We haven't heard much about it since then, but today we got a first glimpse at one of the characters we'll be playing as in this four player co-op shooter courtesy of a new trailer.
The trailer focuses on Aidan, a man living in Washington D.C. and dealing with his daily responsibilities about as well as most of do. The trailer then cuts to Aidan walking around a post-apocalyptic D.C. strewn with "dead" bodies and taking on a group of zombies with a club. He seems to enjoys this a lot more than his life before the zombie apocalypse.
Overkill's The Walking Dead will feature a mix of first person shooter and survival gameplay, as players work together to fight zombies and humans. The trailer confirms the game's D.C. setting and a fall 2018 release date.
(Please visit the site to view this media)
For more on Overkill's The Walking Dead, check out our .
Conan Exiles has been available for early access on Xbox One and PC for awhile now, but the title finally has a full release date.
Conan the Barbarian and the open world survival game he’s in will fully release May 8 for PlayStation 4, Xbox One, and PC. The game has in early access so far, having released throughout the year.
The release date was accompanied by a new trailer for the game.
(Please visit the site to view this media)
For more on Conan Exiles, check out our previous coverage .
Square Enix has released the launch day fighter roster for Dissidia Final Fantasy NT on the PS4 via a trailer, which also showcases seven summons.
The title's season pass includes a further six characters as well as post-launch content. The developers say they hope to include more than 50 characters for the Japanese arcade version, but whether these will ever come to the console version is unknown.
For more on the game, check out its and this trailer on its .
Dissidia Final Fantasy NT comes out for the PS4 on January 30.
(Please visit the site to view this media)
Detroit: Become Human seems to invite concern with every stage showing over the past few years, stemming from an overall fear writer and director David Cage does not possess the chops for the subject matter he likes to tackle in his games. With Detroit, Cage is pursuing the worn foundation of Androids, commonly used in fiction as a springboard for metaphors about race, identity, paranoia, and secondhand citizenship. It is, if nothing else, an opportunity for Cage and Quantic Dream to prove their vocal critics wrong.
We played the Detroid: Become Human demo at PlayStation Experience 2017. The demo contained two scenarios, the first being the hostage situation that was first shown on stage to demonstrate the branching paths the game's narrative could take and again shown at Sony's PlayStation Experience presentation. In this scene, Android hostage negotiator Conner is tasked with defusing a hostage situation wherein an out-of-control Android has kidnapped a little girl and is holding her hostage after murdering her father. Connor is brought in and the player is given the choice of how to proceed.
The first task you are given once you take control is to meet with the captain currently managing the crisis. While you can go straight to the commanding officer, Conner can also examine various pieces of the environment to analyze clues and get a better picture of the assailant and increase his chances of negotiating, which is represented by a literal percentage counter that tabulates chance of success. Only some of the items in the room can be examined before you speak to the captain; everything else just produces a red barrier that the Android cannot cross due to programming telling him to speak to the captain first. It is unclear why the hallway is okay but the little girl's room is not.
When you do speak to the captain, he is curt, expressing his disdain for Androids in general, and his overwhelming need to get the girl safely out above all else, even if that means working with an Android as a negotiator. If you ask him questions like what the other Android's name is or what caused this behavior, he will simply tell you to go do your job. Another officer remarks how important it is to get the girl out, which makes it puzzling they would not aid Conner by answering simple questions that would literally increase the percentage chance of success.
Conner is then left, pardon the pun, to his own devices, and can either march out the door to confront the hostage-taker or continue exploring in now available areas to investigate clues. Despite the captain telling you that every second counts, you are free to basically do whatever while an invisible timer ticks down. Analyze clues, grab a gun you very much are not supposed to have, just stand around if you want, the choice is yours. Investigating the little girl's room reveals the bad Android's relationship with the family and his name that the captain clearly could have just told you.
After that time (which is not visible to the player) runs out, the captain barks that Conner must get out there. At the time, I was looking at an important clue which did not get added to my file despite my looking directly at it. I had not fully completed the crime scene reconstruction to show where the father's tablet fell, even though I could see it on the ground, and Conner remarking on the tablet being important. Still, you get moved to the veranda where the actual negotiation takes place.
It is a fairly tense scene, where Conner talks the other Android, Daniel, down with prompts of empathy and the clues he found searching the apartment while slowly walking forward toward him. The chance of success goes up and down depending on your answers, eventually reaching 100% chance of success and convincing Daniel to let go of the girl.
Either way, the police shoot him, and none of that really matters.
The other part of the demo is the scene shown at Paris Games Week with the Android Kara, a service robot that is cooking and cleaning for a drunkard louse who is unhappy with his life. Despite possessing an intense hatred for Androids himself, he requires Kara's help in keeping his home (which, for whatever reason, looks identical to Ethan Mars' house in Heavy Rain) running, as he does not possess the inclination or mental faculties while drunk to do it.
Kara's first task is to serve dinner, which she does by bringing two plates of spaghetti to the dining room table. A secondary objective to turn on the lights appears on Kara's HUD, which took some searching to figure out which of the room's multiple light switches was the one the game wanted me to touch. The father eventually scolds me for not turning on the lights yet while Kara stands directly in front of it, leaving me to wonder what he thinks I was doing while walking toward the lights.
For virtually no reason, the father flies off the handle and flips the table, sending the little girl upstairs. He orders Kara not to move while he works himself up with no other prompting until he decides to go beat his daughter. The entire thought process lasts about ten seconds and then Kara is given the opportunity to subvert her programming and break through the barrier keeping her there.
I ran upstairs, took the father's gun from his bedroom, and then pointed the weapon at him. The hostage demo I had played before established that Androids are very much not allowed to possess guns for any reason whatsoever, but Kara had just overcome her programming, so it made sense for her to take it. She pointed the gun at the father and threatened him to stop beating the little girl, at which point he mocks her for Androids not being able to kill humans due to their programming and then knocks the gun out of her hands.
What followed is a fight scene that is a genuine mess of quick time events. A smattering of prompts appeared, one after the other, designed to allow Kara to duck and weave the father's attacks. Despite being the same motions for Kara herself to perform, sometimes the prompts were analog stick movements, sometimes they were buttons, and sometimes they were gestures with the Dualshock 4. They all looked identical, making discerning between analog stick movement and gesture movement shockingly difficult in the heat of the moment.
After failing the quick-time events, the father is disposed of, and Kara and the little girl escaped on a bus. Without context, it is difficult to say whether that scene's cartoonish escalation was warranted or a symptom of a larger problem, but it left me raising more eyebrows than being curious at what's next.
The graphics of Detroit: Become Human are incredible and the music in the demo truly soars, but my fears about its writing have yet to be assuaged. Even without considering the scale of the story the game is trying to tell, individual scenes and dialogue are marred by poor execution, which could become a problem if those are the aspects the narrative needs to hang its hat on.
Detroit: Become Human is scheduled for release in 2018 exclusively on the PlayStation 4.
You would be forgiven for not knowing about Lost Soul Aside before this preview. When I saw the extremely long lines in front of the two-TV demo station at PlayStation Experience, I was similarly confused, and turned my head to try and figure out what I was looking at. We posted about , but we finally got hands on time with the game.
Made by a single developer in China by the name of Yang Bing, Lost Soul Aside looks and plays way better than it has any right to. A first look at the game belies its development resources, with graphics that rival a lot of large publisher-backed games on the PlayStation 4. There are obvious shortcuts, like the demo being contained to a small, geometrically simple cave, but the graphics and art invoke Final Fantasy XV more than anyone could expect of an indie title.
The virtues of Lost Soul Aside are not necessarily centered around its graphics, however, as much as they are how the game feels to play. It is a character action game through and through, with immediate controls that simultaneously feel smooth as butter and urgently reactive to you. Dodging is set to a button combination of Square and X, which I initially thought was one button too many at first, but it allowed me to dodge between quick frames of hammering the attack button on a monster's face.
The demo allowed use of three different weapons, a broadsword, a double-ended spear, and one-handed sword. All three were interchangeable using the shoulder buttons and could be mixed and matched during combos. The broadsword, a blunted blade that glowed a gnarly purple, was the strongest of the three but slow to the point of inviting enemy attacks. By contrast, the spear is lightning fast, punishing button mashers by locking them into combos that might not stun enemies. It does, however, have the fantastic quirk of blocking enemy projectiles while backdashing by spinning rapidly. The regular short sword is a mix between the two and I found it to be my preferred weapon.
The demo was not extensive, though given the small staff on the game, that is not unexpected. It is a playground to test combos against enemies that can and will kill you given the chance. There is no level structure or any progression beyond defeating waves of monsters until the boss appears.
The boss of the demo is a behemoth-like monster that might feel safer at home in Dark Souls than anything else. This analogy even extends to his moveset, which is made up of large swipes and wind-ups that give you ample time to dodge as long as you're paying attention. When the boss' HP, which is invisible, is drained halfway, the quadruped stands up on his hind legs and engages you with his own sword moves. I didn't last beyond this form, but its influences are clear.
Dodging is governed by a bar that depletes one visual notch with every dodge. It refills incredibly quickly so long as you aren't attacking, but that can be a difficult thing to balance in the heat of the moment. The dodging feels good, but the window is not so wide that you can simply assume dodging will save you from an attack. It has to be timed and timed well.
While it is unlikely it will ever live up to this comparison, Lost Soul Aside felt to me like a strange combination of Metal Gear Rising: Revengeance and Bloodborne. A lot of how well it can meet those lofty standards is still left unanswered, but Lost Soul Aside is absolutely one of the most surprising games at the show, and I can only hope it fulfills its promise. The producer at China Hero Project has told us they are not yet sure if the game will be coming to the west but they are hoping to muster enough enthusiasm to bring it.
Video games can be powerful in many ways, and some developers are building virtual worlds that do more than just entertain. Some, like Assassin's Creed: Origins' , educate us about Ancient Egypt without the threat of enemies. Others, like the platformer , hope to preserve the culture of the Alaskan Iñupiaq people by thematically reflecting their mythology and history.
Mulaka, from developer Lienzo, has a similar goal. Based off the indigenous culture and mythology of the Tarahumara tribe, Mulaka is an action adventure game that has players exploring the stunning sights of Northwestern Mexico. You play as a shaman, who is on a dangerous journey, attempting to stop powerful gods from the destroying the world. You can shape shift into several animals, including bears and birds, all while defeating massive enemies.
You can view the most recent trailer that was shown off at this year's PSX by watching the video below.
(Please visit the site to view this media)
The team at Lienzo researched the tribe meticulously, and worked with both anthropologists and members of a Tarahumara community, to ensure their representation is accurate. Mulaka releases for Nintendo Switch, PlayStation 4, Xbox One and PC early next year.
When Guacamelee released in 2013, the 2D Metroidvania dazzled with its fantastic combat and colorful artstyle. Guacamelee 2, which was announced at Sony’s Paris Games Week event, follows in the same footsteps as its predecessor while turning up the volume on all its features.
The original Guacamelee wore its influences on its sleeves, to the point where characters were getting weapon upgrades from Chozo statues, which were named the legally distinct Chorizo statues instead. It makes sense, then, that Guacamelee 2 so closely hews to what the original game was. You are interacting with the game in the exact same manner, through tough platforming challenges and melee fighting, but the game feels comfortable in its similarity.
While the original game supported two-player local co-op, the sequel doubles that number with four distinct characters, including the first game's protagonist Juan. This might be a scenario where less is more, as the screen gets chaotic with sprites flying all over the place with four players, but the option is there for those who want it. Multiplayer is again local-only, as Drinkbox explained that online multiplayer requires resources that would have to be pulled away from other parts of the project.
The demo we played has the protagonists chasing after one of the game's new cadre of villains, a lonely masked magician with an army of chickens and a strong desire to be best friends with the lead villain. You meet him a few times from a distance as he barks orders at chickens and generally chews the scenery with equal self-imposed drama to the first game's bad guys.
Each area of the game has a different environmental quirk it focuses on, with the demo area popping up traps from the ground if you stop on certain spots for a long enough time. The roll out of these traps is smartly designed, positioning them as things that should be avoided at first and eventually as things that can be utilized for your benefit. Luring enemies onto the traps hurts them and, crucially, also blocks attacks that are otherwise unavoidable.
The demo area also had small hooks floating in the air, which function similarly to the jumping off points from 2015's Ori and the Blind Forest. Jumping to one and hitting Triangle shoots you off in the angle you jumped at, which is of course used as a mechanism for increasingly more difficult platforming challenges.
In the original Guacamelee, dimension switching was used for puzzle solving and platforming challenges and the idea was brought back in this demo with a new twist. Now, scrolling quarters of the screen will switch dimensions, which means you can be hitting an enemy and they will suddenly become incorporeal during your combo. In some rooms, the alternate dimension erases the platform you are standing on or is actually just a lava dimension, which forces speed and urgency on to you.
About halfway through the demo, we met with the Chicken Pope, papal poultry that grants you the ability to transform into a chicken once again. Unlike the first game, however, the chicken has full combat abilities and can hold their own in a fight, as well as their own unique abilities beyond just being small. Additionally, grabbing a temporary power up enlarged the chickens to monstrous sizes, like a Mega Mushroom in New Super Mario Bros., and let us stomp around and destroy enemies in a pollo-driven rage.
The demo ended with a boss fight with the masked magician, which incorporated everything you learned so far in the level leading up to him. His boss room contained two traps, spike towers that shoot up if you stand on their floor placement too long, which are key in blocking some of the boss' attacks and hitting him when he's up in the air. He would occasionally take breaks to shoot chickens at you in bullet hell-style patterns that you could glide and jump around in your chicken form.
Guacamelee 2's demo was fun and comforting and certainly does not reinvent the wheel. It does not need to, however, as the game remains fairly unique in its genre blending and still feels as good to play as ever.
Guacamelee 2 is scheduled to release in 2018 on the PlayStation 4.
Announced at Sony’s annual PlayStation Experience, Firewall: Zero Hour is Sony’s answer to the booming genre of tactical team-based multiplayer shooters with a virtual reality twist. Firewall follows in the vein of games like Ubisoft’s popular Rainbow Six: Siege, pitting two teams of four players each with contrasting goals against each other in tactical combat. Teams can choose to win a match by stealthily achieving their goals or they can win bloody, seeking out and flushing out enemies toward a grisly end. The concept is simple: both teams of mercenaries have been hired by anonymous contract holders that either want to steal data or protect their own data. The contract holders act as an eye in the sky for your team and tell you about changing mission objectives or, as I became very used to hearing, express their disappointment in you.
What separates Firewall from the herd, however, is leveraging VR for the gameplay. The game uses the PlayStation VR headset and Aim controller to create an experience that feels a bit more real and tense than other games in the genre. There is no auto-aim or aim-down-sights mechanics because the game wants you to feel like you are physically holding the gun, an experience Sony pushed with their previous VR shooter Farpoint. Similarly, your HUD is on your wrist, which makes checking the map as simple as turning your gun slightly. My first match was uneventful, my team failed to find the other team until they mysteriously and silently achieved their goal without us realizing it. Aside from accidentally throwing my grenades out due to the button being awkwardly placed on the Aim controller, the match saw little to no weapon use.
There is an argument that art comes from the immediate desires of the creator, which is a stance that makes sense after checking out Concrete Genie’s art creation. We got to sit down with the developers, Pixelopus, as they showed off how painting the town red worked in the PlayStation 4 game.
In Concrete Genie, the world is truly your canvas, with every wall in the otherwise grey and drag city functioning as an open space for you to place your art. Your main character, Ash, interacts with walls with his magic brush and paints pictures using themed stamps and templates to create moving 2D tableaus. Placing a waterfall on the wall creates a small pool at the bottom of the wall, the sun lights up various other placed objects, and flowers look super pretty.
There is no limit to what you can create - or at least not one the developers have hit yet.
The initial theme Pixelopus showed us, Landscape, focused primarily on the flora and environment that would make up a landscape painting. They confirmed that there are more themes and objects that can be found and unlocked as the player progresses through the game, allowing budding artists to mix and match themes and objects. The themes gets more varied and tonally darker as Ash collects them, reflecting his emotional state in the story.
Environments are not the focus of Ash’s paintings, however, as he also has the ability to give life to creatures. Ash creates creatures to solve puzzles in the game, but they represent his friends at a time where he faces constant bullying. How you draw the creatures (big, small, bipedal, quadraped) affects how they move and their personalities. Even the color you choose when you bring them to life determines how they behave, as well as their elemental affinities for puzzle solving.
Creatures interact with each other and the environment, depending on their personalities. Pixelopus remarked that, when making the trailer for the game, certain creatures unexpectedly photobombed their perfect shots because their AI allowed for that behavior.
The creatures and other parts of the 2D art are still affected by physics, something Pixelopus told us was aided by sister studio Media Molecule after seeing their game. The Dreams developer lended some of their internal physics tech to Pixelopus, which results in an extremely cool look and feel to the paintings.
While they weren’t shown, the developer explained that the paintings are affected by Ash’s bullies in the city, something hinted at by the game’s first trailer. The bullies also affect the various ways the creatures behave, indicating that the friend you spent so long on creating and growing might be in danger if left alone.
Concrete Genie is built on the Unreal Engine and looks completely unlike any other Unreal game out there. The paintings you can make burst with a creativity that is completely unexpected when you first look at the blank canvases around you in a dark city square. I am very eager to get my hands on it.
Concrete Genie is scheduled for 2018 exclusively on the PlayStation 4.
Media Molecule’s Dreams was one of the first games announced for PlayStation 4, dating back to PlayStation Meeting in 2013 when the hardware was revealed. Over the next couple of years, we were given brief looks at this ambitious content-creation experience, with a beta promised to drop in 2016. Just when it seemed we would get a taste of what to expect from Dreams, it appeared to be transforming into a nightmare, as the beta was canceled and no release date was in sight. After going dark for an extended period of time, Media Molecule marks today as a new coming out party, stating Dreams is locked in for launch at an unspecified time in 2018. The team spent the last two years working on simplifying the game’s creation tools, getting them to a point where anyone should be able to pick up a controller and create art - that’s the hope. Although I wasn’t given the chance to get my hands on Dreams, Media Molecule spent an hour walking me through the game's numerous avenues of play during a behind-closed-doors meeting at PlayStation Experience. The team's past success with LittleBigPlanet frequently came to mind, both in the creative dreamscapes that flashed into focus, and the design to continually reward players with new items that will deepen the well of creative options at their fingertips.
The demo began with a look at a mode Media Molecule is loosely calling the "campaign," a story driven experience called Art's Dream that weaves together three short stories based in childhood fantasy, science-fiction, and film noir worlds. All three stories are connected somehow, but the player won't know exactly how until they progress deeper within each. The story begins with two cute characters, Foxy and Francis, riding a dragon through the clouds, landing, and deciding to play hide and seek. At this point in the game, Media Molecule is fully embracing the meaning of "childhood," almost making the game look like it's being developed exclusively with the younger audience in mind. Most of the challenges range from simple jumping exercises to flicking motions to open things like Russian nesting dolls and boxes. As Foxy and Francis quest to find their dragon in hiding, they collect prize bubbles that hold items players can use in the building modes, just like in Little Big Planet.
The player can freely control Francis or Foxy (pressing the triangle button to switch between them), but can also control a customizable cursor called an Imp to highlight and interact with things in the environment. The Imp is used throughout the entire game - from menu management to making music - and is a key part of how Dreams can support numerous game styles. After locating the dragon, which sadly ends with him being caged by an unknown entity, the game immediately shifts to the Noir setting, where the gameplay shifts to point and click. The childhood vibe washes away and is replaced by darker, more serious tones. This dramatic shift follows a character named Art, who appears to be searching for a woman. He's tasked with trying to find a way aboard a train to further pursue her. Like most point-and-click titles, the player must scour the environment for things to study and interact with. The search in this instance leads to a piano with luggage next to it. Using the Imp to investigate, a flick of the wrist opens a suitcase, holding a doll. This isn't just any doll, it's a doll of Francis (from the previous story we were just in). Opening the top of the piano reveals string that seems random, but is quickly used in a trade with a musician who needs the string for her banjo. She gives Art a train ticket in exchange.
The story then shifts back for more childhood fantasy gameplay, which features stunning backdrops inspired by the work of artist Tyrus Wong, known for his work on Disney's Bambi. This second look at the world is filled with platforming peril, but doesn't last long, as the viewpoint again shifts, this time to the sci-fi setting, where we see a robot named D-Bug unleashing electrical charges to light up the world and create passage to new areas. This area is again stunning in detail, and Media Molecule representatives are quick to point out that everything we are seeing in the campaign was created using the in-game tools. No additional development tools were used to enhance any of it.
Media Molecule says that players will be able to weave together their own adventures using the creation tools, and can even auto-surf through the communities' creations, which can pull together random stories into one arc. Players will also be able to search for the type of content them want, such as game types, or even artists.
We are then given a brief look at the creation tools that players will be able to use when the game launches. For the sake of time, no items were created from scratch, but we did see just how deep this experience can be in a small pre-made area, consisting of little more than floating island and a wooden path on it. Using just the pre-assigned controller inputs, parts of the island were grabbed, moved, resized, duplicated, and even animated. Activating a "record" function, any motion the player makes is animated. We watched a Media Molecule designer hit record, pick up a piece of the wooden path, move it in the air back and forth, and then stop the recording. When he dropped in a character, the wooden path was moving back and forth, creating an aerial platforming challenge. Media Molecule continually stressed the point that most of the tools are easy to use, but it looks like the learning curve will be extensive.
Our demo ended with a look at how music and sounds can be created. For anyone that has used Garage Band and Pro Tools, Media Molecule has built something similar, allowing for music to be compiled and edited quickly. Players can import their own sounds freely, and an extensive library of instruments and sounds is also provided. Within seconds we watched a song come to life and play as a character jumped across the platform.
Dreams is a significantly deeper and more ambitious project than Little Big Planet. Players aren't just tasked to make a game, they can freely create whatever they want, whether it's a painting or an entire open world. Media Molecule offers up a wide variety of avenues to creation, whether it's starting with a blank canvas or entering someone else's creation to either add to it or see how it was created. All content shows a geneology of who created one. Players will even be able to create projects that can be worked on by numerous collaborators, much like a game development team. So you are great at art, yet stink at animation, you may find a community member that can help you bring your vision to life.
The demo made me want to try my hand at creating something, but sadly, I wasn't given the chance to play it yet. The big question surrounding Dreams is just how easy it is to create. Media Molecule believes people will be able to jump right in, but I also heard that about Little Big Planet, yet struggled to create anything meaningful without first dedicating a wealth of time to understanding the basics.
When we last checked in on , we learned it would be a timed PlayStation 4 exclusive when it releases next year.
It makes sense, then, that the game would be playable at this year's PSX, and surprise! That's the case. To celebrate his game being at the show, Lost Soul Aside developer Bing Yang has released a new gameplay trailer of his project, which takes plenty of cues from the likes of Devil May Cry while looking more like Final Fantasy XV in terms of graphical style. You can watch some monsters get sliced and diced at high resolution below.
(Please visit the site to view this media)
Fantasy Flight Interactive, which launched as a way to help Fantasy Flight Games create digital versions of their various card games, announced today its bringing its Lord of the Rings Living Card Game to PC.
The Card Game, published by Asmodee Digital, will focus on the multiplayer aspect of the card game, but will also feature a single-player component, comprising of three single-player campaigns where players guide one of three heroes to fight Sauron's forces. You can watch a teaser for the game below.
(Please visit the site to view this media)
You can also check out the first screen of the game in action. It looks very similar to Hearthstone.
Although we got our first glimpse of Soulcalibur VI at Thursday's Game Awards, this morning PlayStation offered fighting fans the first look at some in-depth gameplay.
The trailer also includes an interview with the game's producer Motohiro Okubo, who sheds some light on other aspects of the game. First, the game hearkens back to the series' roots in a number of ways and for a good reason: 2018 marks 20th anniversary of the first Soulcalibur game's release in Japanese arcades, so the team wanted to pay homage to the series by returning to its past. However, from a gameplay perspective, the team hopes to mesh the responsiveness and speed of Soulcalibur II with the overall balance and form of Soulcalibur V.
Project Soul, the team behind the series, is separate from the team that creates Tekken over at Bandai Namco, and the two see each other as rivals, though both teams help each other throughout development. Project Soul also experimented with a few engines and before settling on Unreal Engine 4. When it came to nailing the look, the team wanted to return to the brighter lighting of the original Soulcalibur, which is a bit of a contrast to the grimmer lighting found in the subsequent games.
We also got a few additional details about the Reversal Edge, one of the new mechanics in VI. The team wanted to give new players a way to parry any attack, so that they could understand that some moves beat others completely, and that that's what they should be looking for when playing. When two Reversal Edges clash, there will be a slow-motion effect, similar to the one in Tekken 7.
However, the Reveral Edge isn't a get-out-of-jail-free card; as players play around with it, "they're going to understand the risks and transition into a more traditional Soulcalibur type of feel in gameplay," Okubo said. There will also be new mechanics for veteran players to experiment with, though Okubo didn't reveal any details about what they were.
(Please visit the site to view this media)
Capcom has unleashed a pair of trailers for Monster Hunter World, and they couldn't be more different.
The first trailer, called "Third Fleet," emphasizes the game's story. It's the most diverse set of camera angles and dialogue we've seen from the game yet, even it's mostly about the world around them and only hints a larger overarching plot that will string together all the hunting you'll be doing.
(Please visit the site to view this media)
The other trailer is about a Mega Man crossover, which, you know, couldn't do more to de-emphasize the lore of World and its characters. It's still a pretty fun and silly collaboration, though.
(Please visit the site to view this media)
The wait for Vampyr may have been pushed into next year, but it’s allowed Dontnod to ensure they capitalize on their past experiences and explore a new kind of video game vampire.
Originally planned for release in October of 2017, Dontnod to ensure the game could be polished and made into the best experience possible. And for good reason: In addition to being a new I.P., Vampyr represents a realization of their experience gained from both the Life is Strange series and Remember Me.
"In a way, we can consider that Vampyr is the child of Dontnod's first two projects: We return to a game mechanic based on fighting and confrontation, as in Remember Me, and at the same time we return to the mechanics of the choices and consequences freely left to the players, as in Life is Strange," says game director Philippe Moreau.
Following the acclaim Life is Strange received for its narrative, the team has strived to offer an equally engaging tale through their new title. To this end, they settled on an exploration of vampirism and the moral ambiguity surrounding its lore.
"Vampires, in videogames, are most often depicted as enemies. Maybe because they are vicious and deceitful creatures, and it can be hard to play a vampire as the ‘hero,’" says narrative director Stéphane Beauverger. "That was one of the main reasons why we wanted to explore that classic monster: to make the players understand that Jonathan may be the main protagonist of Vampyr, but he is far from being a hero in the usual meaning of the word."
Playing as the Victorian-era doctor-turned-vampire Jonathan Reid, players encounter a variety of characters throughout the world with their own motivations and goals. As a vampire turned against his will and trying to hold onto his humanity, Jonathan must choose carefully who he feeds on, when, or at all, leaving the player to decide who will or won’t become a target. While choosing not to feed allows Jonathan to keep his cover and abide by his moral code, feeding allows him to utilize his vampiric powers more effectively in combat. Though there isn’t a set morality system in place, choices do carry consequences and aim to make the player think on their decision process.
"Vampyr tends to incite the player to think about his own choices and own morality," Beauverger says. "Why spare this character but kill this one? Is it because he was not nice to you? Is it because you don’t like his attitude? Does someone who does not share your point of view deserve to die? Just who is the monster, then?"
The game carries heavy inspiration from films and literature related to these topics and themes, ranging from the iconic style of F.W. Mornau’s Nosferatu to the introspective look at the creatures through Francis Ford Coppola’s Dracula. At the same time, dark and abstract takes on London helped the game’s artists shape the world and its characters.
"I have always loved the haunting figures in some of Phil Hale’s paintings," says art director Grégory Szucs. "Sculpted, chiseled and bleakly lit with a cold, stroby light. Even the framing can be suffocating at times."
While the choice to put off the game’s release was a difficult one, the team believes it was the right call and that Vampyr will live up to expectations as a result.
"After the critical acclaim of Life is Strange, there are a lot of expectations," Moreau says. "People are waiting for us to deliver some very strong storylines, because it’s in Dontnod’s DNA. So, of course this a big challenge for us, but people believe in us and we are confident."
Players can make their way through the grey and twisted world of Vampyr when it hits PlayStation 4, Xbox One, and PC next year. For more on the game, .
The developers behind Super Time Force and Superbrothers: Sword & Sworcery EP are teaming up with Cartoon Network to make an OK K.O.! video game.
OK K.O.! Let’s Play Heroes the show, which is sharing its name with the game, premiered this summer on Cartoon Network after it began its life online as a series of web shorts. The second season of the show premieres next year and its video game adaptation will release sometime in early 2018 on PlayStation 4, Xbox One, and PC. The trailer below represents the game's first gameplay footage.
(Please visit the site to view this media)
For more on the partnership between Capybara and Cartoon Network, head here for an interview with the show's creator . You can also read about the game's announcement .
, Bandai Namco revealed Kid Buu would be a fighter in Dragon Ball FighterZ. Today, a new trailer offers a closer look at him.
You can check out the new trailer below, which shows his combat introduction, as well as a few special attacks.
(Please visit the site to view this media)
For more on Dragon Ball FighterZ, click the banner below for all of our features from when the game was on our cover.
Something feels off about the city in A Place for the Unwilling, a narrative adventure game from the Madrid-based indie developer AlPixel Games. Black smoke spews from the chimneys of homes and factories, friendly faces hide secrets, and a sense of mysterious, unknown dread permeates the streets of this Dickensian city.
In A Place for the Unwilling, which is due out next year on PC and Mac, AlPixel crafts a Dickensian world with a visually striking style that begs you to explore its darkest corners all while the hands of a ticking clock remind you the end is nigh.
The intriguing mysteries of the city and darkly humorous tone draw you in, but it’s the Majora’s Mask-style ticking clock mechanic that spices up the game’s narrative-adventure tropes. It adds urgency to a genre that usually allows you to play at your own pace. Although you can guide your character around the city, which is viewed from an isometric perspective, talk with NPCs, and add information to your journal and inventory, the clock is always ticking, except during conversations. The mechanic also makes choices that often seem insignificant - who to talk to, what area to explore - much more important.
"We asked ourselves if there was any way to make every moment meaningful," says game designer Luis D&ióaz. "We came up with a solution. What if just choosing to visit a certain place or talking to a certain character affected your story? What if every second you're playing you're opening some doors and closing others?"
Players arrive in what is simply and mysteriously named "the city" as a newcomer, a young man who is taking over the trading business of his childhood friend Henry Allen who recently committed suicide. Over the course of the next 21 in-game days, each of which currently lasts around 20 real-time minutes, players explore their environment, learn about the setting, and form relationships with characters during the dying days of the city.
Every interaction matters. Deciding whether to spend the day talking with people, earning money through the trading system, or reading the daily news all becomes important to the narrative. Even staying out late at night can affect a playthrough.
"At night, the protagonist will start feeling tired. They can stay up late, though they’ll wake up later the next morning, which might mean missing some important events," D&ióaz says.
With a lot of activities to do, it might seem like A Place for the Unwilling is a time-management game, and to a certain extent it is. However, the focus remains squarely on the city and the relationships you form within the city.
The setting in A Place for the Unwilling immediately establishes an intriguing blend of charm and dread. This strange combination runs through every aspect AlPixel’s adventure, from the art design and music to the writing and world building.
According to the team, the mood and atmosphere comes right out of their smorgasbord of influences, which are as diverse as H.P. Lovecraft’s cosmic horror, the darkly humorous work of Charles Addams and Edward Gorey, and the Grimm’s Fairy Tales-like animated miniseries Over the Garden Wall.
"In [those] works, a candid and heartwarming facade hides something macabre within," Rubén Calles, a 2D artist at AlPixel, says. "[It] was quite important to define the mood we wanted to convey."
A Place for the Unwilling has a similar mix of humor and horror, which its heavily shadowed, cartoonish art style helps portray. The city’s smoke-spewing factories, foggy cobblestone streets, and Lovecraftian dread lend a darkness to the proceedings that the characters, with their charm and humor, balance out.
"Laboral abuse, police brutality, child slave labor, or political corruption are among the themes we’ll be addressing," says AlPixel narrative director &Aóngel Luis Sucasas. "But, at the same time, we have a lighthouse-keeper that turns on and off the lighthouse whenever he feels like reading, a stuttering bookseller that can only express with clarity through singing, and a young thirteen-year-old anarchist who always carries a cigarette in his mouth. Both humor and harshness go along in our game."
It’s especially important to have engaging and entertaining characters, considering that most of the time players spend in the game involves dialogue choices and conversation. A Place for the Unwilling is primarily about the relationships players form with these characters, which is why AlPixel took a different approach to its NPC population.
"Since our whole project is based on narrative, we decided characters would only mean something in terms of gameplay once they mean something to the story the player is building," Sucasas says. "So everybody starts out as a shadow, they’re blurry strangers you can ask for directions but you’ll forget their faces soon enough. Once you’re involved with them in [a meaningful way], the shadow will fade away and you’ll recognize their faces as they wander the streets."
It's a clever commentary on the way people inhabit and interact with real-world cities, and the effect of this design choice is disconcerting in a good way. Walking around the streets of the city past shadowy, unknown figures adds to the dark, mysterious atmosphere and as an outsider, it makes sense that the city would seem hostile or foreign to the player.
Just like how the ticking-clock mechanic spices up decision-making, this mechanic makes social interactions refreshing and meaningful. Not only are you engaging with someone who can help you out, you are bringing a friendly face and a bit of life to your world.
With its blend of humor and dread, an intriguing setting, and the pressure of working within a time limit, mystery remains at the heart of A Place for the Unwilling, and AlPixel is intent on surprising players at every turn.
"We want to disconcert players, make them laugh, horrify them and move them; never knowing which emotion will come up once they draw the next card from the deck," Sucasas says.
You'll have to free the citizen restrained by the autorities, localise and then infiltrate into control centers of the anti video games propaganda, retrieve gaming consoles confiscated from the population to dethrone the new Mayor, who is the cause of all that mess. Beware, some new security drones are patroling the city and you'll have to be vigilent at the cost of being chased and having to shake them off.