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Adventure Games

Sunset photo
Sunset

1970's revolutionary thriller Sunset out this week


Orange you glad you read this post
May 19
// Steven Hansen
You ever notice how blue the Nolan Batman films are, or the blue and orange trend that slathers everything from Drive to Transformers to Battlefield cover art? Turns out humans respond well to color and when creating a work ...
Life is Strange photo
Life is Strange

Life is Strange looks like it's going to start heating up


And blowing up
May 18
// Brett Makedonski
The third episode of Life is Strange releases this week, and it appears as if the embattled-teen story will really pick up speed with this next installment. That is, if this trailer has anything to say about it. Thus fa...
A Telltale game series photo
A Telltale game series

Episode 4 of Telltale's Game of Thrones is coming, here are some screens


More like LAME of thrones
May 18
// Steven Hansen
Ah, Game of Thrones. I forget it's still a huge thing sometimes, like when I recently learned Mad Men is still on. This time it's the fourth episode, "Sons of Winter," of Telltale's adventure game take on the J.R.R. Tolkien property to remind me it's still around. Here are some pictures. Darren Nakamura liked the last episode and will be doing up a review of this'n when it comes.

Review: NERO

May 13 // Brett Makedonski
NERO (Xbox One [reviewed], PC, Wii U, 3DS)Developers: Storm in a TeacupPublisher: ID@XboxReleased: May 15, 2015 (Xbox One), TBA (PC, Wii U, 3DS)Price: $19.99 But to spend a little more time in NERO's world is a wondrous thing. The omnipresent phosphorescent set-dressing strikes a dissonant chord against the subject material, but works in an odd mutuality. When hope seems like it's sure to slip away forever, the aesthetic inspires in an underlying way. Hey, maybe things will turn out all right after all. As this is a foray through a child's mind who's going through uncertain realities, nothing about NERO is metaphorically black and white. The journey is paced however you see fit. Meandering about is enticing, as everything about it begs for exploration. Backtracking is likely to occur often, as you realize you've been staring at the lustrous sky for too long and forgot to pay attention to your surroundings. Every time this happens, you'll fall a little more in love with NERO. Wandering off the beaten path has its benefits beyond taking in more scenery. NERO is a first-person puzzle-solving game, but it can be very light on the latter if you so choose. The majority of the puzzles are tucked away in areas that aren't even necessary to venture to. Those who opt to complete these brain-teasers will be awarded with an extra slice of narrative. [embed]292028:58522:0[/embed] Honestly, those who take the quick and narrow path through NERO are robbing themselves -- not just of a few puzzles, but of the core experience. It's a game where you slowly figure out that aimless wandering is the aim. It's something that requires some marinating, soaking in the world to fully appreciate it. Approaching NERO with a destination in mind is a mindset that will result in disappointment. Likewise, those who appreciate clearly drawn lines will similarly feel frustration. NERO is intentionally ambiguous at all times about its narrative, but its tone is always striking. Different thematic accents constantly punctuate different scenes; the ones that don't happen to arch over the course of the entire journey. For all the discussion it's sure to raise regarding plot, it's undoubtedly a story of love and loss, grief and guilt, companionship and family, and coping when the world is so goddamn unfair. All that being said, NERO isn't perfect. Detractors will knock it for a short run-time, flat textures, frame rate stutters, and lack of puzzle variety. However, isolating those issues is akin to missing the forest for the trees. There's something greater at play here, and letting yourself become immersed in NERO will likely render those shortcomings moot. Even after finishing, it's difficult to pin NERO down to a concept or feeling that's easy to explain. It's a game that prioritizes emotion above all else, and it does so wonderfully. But as the boy at the heart of this tale learns, emotions are tough to understand, and thus NERO is tough to understand. You'll just know that you felt something, and that sensation alone is worth the journey.
NERO review photo
A strange and distant land
I don't know why I kept playing NERO. That's not a statement meant to express disdain. I literally don't know what -- but something -- drew me to keep trekking through this sad, enamoring world. Its gravitas has a gravity abo...

Life is Strange photo
Life is Strange

Life is Strange Episode 3 uncovers secrets on May 19


'Chaos Theory' arrives next Tuesday
May 13
// Kyle MacGregor
Dontnod's next installment of Life is Strange launches May 19, Square Enix announced today. The third entry is titled Chaos Theory and sees "Max & Chloe ramp up their investigation to find out what exactly is going on at ...
Abyss Odyssey PS4 photo
Abyss Odyssey PS4

Abyss Odyssey: Extended Dream Edition is coming to the PS4


Dodge-cancels are in
May 11
// Chris Carter
Abyss Odyssey was a pretty neat little action game that was built on fighting game mechanics, and in addition to the PC, PS3, and Xbox 360 release, it's also coming to the PS4 as an Extended Dream Edition. The game will...
Carpe Fulgur photo
Carpe Fulgur

I've never seen anything like Carpe Fulgur's new project


This Starry Midnight We Make
May 07
// Jordan Devore
Carpe Fulgur introduced Recettear: An Item Shop's Tale to hundreds of thousands of players in the West and, last we had heard, was helping XSEED Games localize The Legend of Heroes: Trails in the Sky Second Chapter. Now the ...
GOG x Star Trek photo
GOG x Star Trek

Maximum Warp: GOG bringing back classic Star Trek games


Set Phasers to "Stunning Discounts"
May 07
// Josh Tolentino
Remember when GOG was called "Good Old Games"? When the fine folks at CD Projekt were more concerned about getting classic games like, er..NOX to contemporary players at low prices, rather than selling brand new games an...

D4: Dark Dreams Don't Die is better without Kinect on PC

May 07 // Chris Carter
The PC build I had access to only has a 10-minute exploration demo and three-minute action sequence, but it was enough to get a gist of the new control scheme. While the port of D4 will fully support controllers (just like the Xbox One version), you'll also have the addition of the mouse, which feels right at home given the old school adventure game feel. All the applicable buttons are mapped to the mouse, including interaction (left click), looking around (middle), and tapping objects (right click). Completing QTEs takes a little getting used to as you'll need to flail about fairly quickly to complete sliding actions, but it's all very doable. As a creature of habit I ended up plugging in my Xbox One controller for my second playthrough, and lo and behold, it feels like a 1:1 recreation of the console version, which is definitely a good thing. Everything looks very fluid and sharp on-screen, and even the early build is running smoothly at this time. D4 may not have the most impressive visuals in the industry, but it has a ton of character, which has been sufficiently represented in the port. [embed]291485:58450:0[/embed] Since D4 is an adventure romp it doesn't need a whole host of options that other PC games might boast (check out the work-in-progress menu screen here), but at the very least I was disturbed to find out that I could not customize the resolution. When asked whether or not the PC edition would have resolution settings, a rep for Playism stated, "I have raised that issue with them, and they are working on it." Hopefully we'll see it in the final build. For the thousands of Swery fans out there who don't own an Xbox One, the PC port of D4: Dark Dreams Don't Die is a great opportunity to see what the hubbub is all about -- plus, it will make a great Steam sale gift for people who are on the fence. Once it hits, let's just hope that this is enough for Access Games to fund the conclusion of the story. D4 for PC will launch on June 4 on Playism, GOG, the Humble Store, and Steam for $14.99.
D4 PC preview photo
Controller and mouse support are a go
This year, D4: Dark Dreams Don't Die is coming to PC, and as soon as I heard the news, I jumped up and down. This is an adventure that needs to be in the hands of as many people as possible, and confining it to just the ...

Swery: D4 on PC is '100 percent bona fide D4'

May 07 // Brett Makedonski
The reason that Swery doesn't feel that the Kinect-to-mouse transition is a concession of sorts is because control method isn't what's at the core of D4. Swery elaborated "D4 is a game that doesn't derive its entertainment value merely from the fact that you can control it. My design has always been focused around the 'sensory replication' element. All input devices have their own special characteristics, and I feel that I've created separate control schemes that are all designed specifically for the Kinect, controller, and now the mouse." This "sensory replication" Swery speaks of isn't some marketable-sounding term that he tacked on to describe control schemes; it's something he spends a lot of time thinking about and crafting experiences around. In fact, further hypothesizing by Swery is the reason the PC port is even happening. He explained how D4 on PC came to be by saying "I started working on the PC version at the end of last year, through to GDC this year. At that time, I had made no plans about releasing it. It was just an experiment to help prove the contents of my GDC speech. To sum up [my speech]: 'Even without Kinect, the theory of symbolization and sensory replication through minute observations is still possible, and pieces that replicate sensations in this manner can enhance the overall empathy that people experience.' In order to prove this, I started making a sample version of the game that could be played using only the mouse. I revealed it to people at GDC and PAX East, and since people responded more positively than I had expected, I decided to develop an official release." That official release won't come as easy as one might think. This is Access Games' first time working on a PC title. (The poorly-received PC port of Deadly Premonition was controlled by another studio, and Swery says that Access wasn't able to exert control over the process because it didn't own the rights to the game.) Because of Access' inexperience developing for PC, Swery describes the process as including "a lot of unexpected surprises and problems." He went into detail by saying "Like I talked about earlier, we had to figure out how to create sensory replication with the mouse. Since we couldn't use Kinect, we needed to figure out how to make the PC version a game that anyone could easily enjoy with the mouse. Our game designers, programmers, and UI designers really had to rack their brains about this. Next, we had to think about adding user options and confirming minimum system requirements and recommended specifications that didn't exist in the console version. Since we created an original shader for D4 using our own code, it was hard to make it backwards compatible simply through changing settings in Unreal Engine, so we had to adjust the code and add new parts to it. Since we've only worked on console games so far, this was a brand new experience for us." Above all else, Swery's says he's dedicated to not letting the PC version of D4 go the way of Deadly Premonition. "The team that worked on the Xbox One version of D4 is in charge, and I've also been taking part in the adjustments. We're really serious about this, and intend to treat the D4 IP with the utmost care." One thing that he wasn't too serious about was commenting on his feelings about Microsoft announcing one year ago that it'd release a version of Xbox One without Kinect. After all, Swery had likely undertook this project with the understanding that Kinect would be something that's in every living room that an Xbox One is in. All of a sudden, that wasn't the case. Swery took the high (and humorous) road by simply chiming in "#ThanksObama." Temporary comedic relief aside, Swery seems very serious about D4 and its future. When asked about reading fan theories (a pastime that's dominated the Destructoid office at times), Swery said that he refrains out of respect for the fans. He clarified by saying "D4 is of the mystery genre. With this genre, the fun comes from 'enjoying' all the mysteries up to the end. I think it's natural for people to closely watch the developments, hypothesize, and then think up their own opinions and theories. That's what's so great and important about the mystery genre. With that in mind, I think I have no right to take part in those sorts of discussions." For all the transparency and openness behind the whole process of getting D4 to PC, Swery turned mysterious again when the topic on everyone's mind came up: Is a second part to D4 ever getting made? "I still can't talk about what'll be coming next. All I can say is that I'm working my hardest!," he said. Figures. But, maybe with the help of a PC audience pushing for more D4, we'll get the resolution we need. Or, maybe we'll get more fights with a cat lady. Both are welcome with open arms.
Swery interview photo
Kinect didn't make the game
To say that developer Hidetaka Suehiro -- or, Swery65 as most everyone knows him -- has a knack for creating unique and strange videogame experiences would be an understatement. He has a loyal cult following, as anyone that l...

Grim Fandango photo
Grim Fandango

Grim Fandango Remaster now on App Store and Google Play


La Parca en tu bolsillo
May 06
// Zack Furniss
After almost 20 years, LucasArts' Grim Fandango was remastered by Double Fine Productions. It released in January on the PlayStation 4, PS Vita, PC, Mac, and Linux to mostly positive reception. Starting today, it wi...
The Escapists photo
The Escapists

The Escapists arriving in June on PS4, no Vita version


Poor Vita
May 04
// Chris Carter
We already knew that the Xbox One and PC RPG The Escapists would be arriving on PS4, but thanks to the developer we now know that it's coming on June 2. You'll be able to snatch it for $19.99, and a $2.99 Alcatraz DLC pa...
D4 on PC photo
D4 on PC

It's official, David: Swery's D4 is coming to PC


'When' is just one more unknown
May 01
// Brett Makedonski
Japanese developer Swery has done a great job curating an air of mystery around the plot of his games. However, he hasn't been as outstanding at keeping the games themselves a mystery. Such is the case with a PC port of D4: D...
Lifeless Planet photo
Lifeless Planet

Lifeless Planet is coming to the Xbox One


Remember this game? No?
Apr 30
// Chris Carter
Lifeless Planet, like most Kickstarters, seemed fairly ambitious -- especially back in 2012 before the platform really took off. It launched last year to middling reviews, but developer Stage 2 Studios is keeping the pro...
Elsinore Kickstarter photo
Elsinore Kickstarter

Elsinore takes Shakespeare's Hamlet through a time loop


Try not to end up face down in a lake
Apr 29
// Darren Nakamura
There is something about Hamlet that inspires creators to want to adventure through it. First there was Ryan North's chooseable-path adventure book To Be or Not To Be, now there is Elsinore. Maybe people want to change the o...

Double Fine Productions aims to rekindle the spirit of adventure

Apr 28 // Alessandro Fillari
"It seems like there's been so many people talking about adventure games, people crowdfunding new adventure games," recalled Tim Schafer, the founder of Double Fine Productions and game director on Broken Age. "It's just that everyone felt that it's okay to talk about it again. We don't have to talk about it like a dead genre anymore, people just throw that word around casually, like 'Oh, you're doing an adventure game?' -- it's become normalized now." With the renewed interest for adventure games in recent years, there's never been a better time to become invested in the once-dormant genre. There was a time when adventure titles were common, and full of optimism, but with a steep decline after the '90s, traditional point-and-click games seemed to have gone by the wayside. But recently, these games have seen a reawakening, thanks in part to developers like Telltale Games and Double Fine outputting a steady flow of titles. And with titles spread across so many platforms (including mobile), they're now more accessible than ever. The development of Broken Age, which is easily the studio's highest-profile project, has been a unique case to watch. Tim Schafer and the team aimed to create a title that was a true throwback to classic LucasArts titles like Day of the Tentacle, The Secret of Monkey Island, and Grim Fandango -- while also taking advantage of today's technology to illustrate visually vibrant and diverse worlds to explore. With the pretty positive reception the first act received last year, people have been anxious to get their on the final part of the game. During my session, I had some time to play the PlayStation 4 version of Broken Age along with Tim Schafer. Though I went in mostly blind, as I opted to wait until the full release was ready to play, I still had a wonderful time experiencing it this way. It felt great with the PS4 on a big screen, and adding to this was a sense of playing with a community that chimed in with thoughts and helped with clues for puzzles. It really added to the fun. Schafer hopes that players who've already cleared Act I will start from scratch now that Act II is out, as he believes many of the references and characters from the first half of the game may have been forgotten by players by now. Though the developers have launched other titles during the three years of Broken Age's development -- such as Grim Fandango Remastered, Costume Quest II, The Cave, and the beta for their second crowdfunded project, Massive Chalice -- firm interest has still been kept on their work for Broken Age. And with good reason. I mean, how many other games in active development have a film crew following them around recording all their successes and missteps for the masses to see? While they had the challenges of their own project to manage, they also had to deal with the high-profile nature of it following the success of the funding campaign. With everyone watching, the developers wanted to ensure they'd knock it out of the park with the completed title and not only live up to expectations but also to set a good example for the future of crowdfunded titles. Because whether they wanted to or not, they essentially became the people to follow and emulate. "We were like, 'We can't obviously walk away from [the Kickstarter project], we made a commitment to fans and to our backers," said the director of Broken Age. "It did feel like the beginning of something, and it did feel like the responsibility to not mess it up, because our game, our studio, and other people's games kind of were depending on it now, and if done well could lead to a whole bunch of things being funded, that couldn't have been funded otherwise. So we definitely felt like there was a lot riding on our shoulders, but we would've stuck with it anyway, because we always finish our games." The success of the Kickstarter certainly felt like a watershed moment for many. During my interview with Brian Fargo last year for Wasteland 2, the success of Double Fine's project sparked a lot of enthusiasm among many of the "old-school" designers looking to explore forgotten genres and franchises. In our chat, Fargo spoke about trust being the cornerstone of the relationship between developers and their community. And I definitely got a sense of that from my visit to Double Fine. There was not only a clear respect for the genre that many of the developers were returning to, but also for the many of backers and fans who have contributed to the title as well. For better or worse, however, the level of transparency has also contributed to scrutiny over the project. While there have been many successes with crowdfunding over the years, there are also many projects that missed the mark, or outright failed to deliver. During our talk, I felt that Schafer was humbled by the process, and even spoke honestly about their own stumbles with limiting content and details to backers only, leaving everyone else out of the loop. One of the important things they wanted viewers of the documentary to see is what exactly the process is like for game creation -- to give them an understanding of the challenges they often faced. "A lot of people make games, and they care so much about what they make," he said while discussing the challenges of development. "There are so many hard tradeoffs they have to make, there are features in the game they wanted but couldn't because there are these other things they wanted even more, and I want everyone to see that process, because I do think that when you ship a game everything you see in it is an active choice by someone, and it is, but sometimes it's a miracle the game got done. [...] I don't know if they need to think about that stuff, but I like to know that at least some people out there know how hard people work, how amazingly difficult or complicated problems are solved everyday, and all the choices they have to make while making a videogame." This definitely struck a chord with me. I'm inclined to think that there are many gamers out there who are unfamiliar with the actual process of game development, and assume many features and key aspects of development can be added in and removed as if they were text on a document. It felt very refreshing to see so much openness about game creation. Though that may be in part to due to the needs of transparency for operating a crowdfunded project, I found that it helped to not only give the developers their own chance to tell their side of the story, but also to humanize the actual process of game creation. While the added publicity of their project added pressure to make sure they did right by fans, it was the kind of pressure they were more than familiar with during their time on past titles from the LucasArts era and in recent years at Double Fine. Over the years, they've developed games that inspire a lot of love and respect from fans, and making sure they deliver was something that kept them on track. "It's definitely pleasurable to succeed and fulfill all those promises, and anyone who's kinda hoping we would fail, it's nice to hear their quiet tears in the night. If you listen quietly you can hear them cry into the night," Schafer said while joking about the messages they get from cynical commentators. "But we always have this pressure of trying to do things that the fans would like anyway, now that the fans are actually funding the game, so it's the same group. But you put that kid of pressure on you anyway so you'd make a good game."   With the complete Broken Age experience available now, this marks the end of a long and unique development period for the studio. Though it has still got another crowdfunded title in the wings, its first is now out in the wild, ready to be experienced by fans and newcomers alike. But as we've seen in the years since Double Fine's success on Kickstarter, there's no shortage of campaigns looking to reignite the same fire that only a few projects can attain. Schafer definitely believes the future is bright for crowdfunded titles. "I think crowdfunding is here to stay," said a confident Schafer. "I think when people realized you could get organized and make things happen that couldn't be made by the old gate-keeper system, I think that'll always be the case. [...] Basically I think things always go crazy on Kickstarter when there's a great story. I think we had a good story that was new, and also people were saying 'Here's this thing we wanted to happen for a while.' Like this new adventure game, and it hasn't happened, but we could fix that and make it ourselves -- and that's really powerful." "But there are a lot of other different kinds of stories, besides old-timers like me going back and doing the genre again. Just people doing projects no one has ever thought of before, but instantly want to happen, I think there'll be these spikes whenever that happens and continue to be more popular. I mean the things about crowdfunding will change and improve, but I don't think it'll ever go away." A good story is important. Whether it comes from a struggling developer looking to strike out on its own with a project that was rejected by countless publishers, or from a group of veteran creators seeking to return to a classic franchise all while doing it their way -- crowdfunding has inspired a lot of people with an idea to put themselves out there and hope to find others who share their vision, and to ultimately realize it. And with Broken Age out now, we're approaching the end of another story from the folks at Double Fine Productions. But as the genre goes, there are always more adventures to be had. It's not often you get to be a part of the revival of a once-dead genre that inspired many to create their own titles, bond with friends and family over the complexity of puzzles, or get caught up in heated debates about what the real ending is for contentious titles. As the name of the genre states, an adventure is an exciting and hazardous journey into the unknown, and the developers of Broken Age experienced just that with their first foray into crowdfunded game development. Regardless of how you feel about Broken Age as a whole, or whether the developers at Double Fine made the right choices, it's hard to deny that it all made for one of the most interesting development periods for a game in years. Whether you view Double Fine Productions as the underdog or not, it still made for an engaging story. And aren't those the ones worth telling?  
Double Fine interview photo
Everyone loves a good story
Who could forget the great Kickstarter boom of 2012? You remember, right? Out of nowhere, this website called Kickstarter suddenly became a focal point for established developers and indies looking to crowdfund the next big t...

D4 photo
D4

It looks like D4 is coming to PC, according to Swery


Thanks Swery (and Obama)
Apr 28
// Chris Carter
D4 is a fantastic adventure game. I want to see it continue in any way possible, whether that's through additional episodes or a port so more people can enjoy it. I'll get my wish soon, according to creator Swery, as the...

Review: Broken Age: Act 2

Apr 27 // Caitlin Cooke
Broken Age (PC)Developers: Double Fine ProductionsPublisher: Double Fine ProductionsReleased: April 28, 2015 MSRP: PS4, PS Vita, PC, Mac, Linux, Ouya: $25 / iOS and Android: $15 Broken Age is very much designed and intended to be played as one game, not chopped up into two parts. If you've managed to hold out this long to play both acts together, rest assured that you've done yourself a favor. The second act gets straight to business, dumping the player into some heavy plot points right off the bat. The game’s challenging puzzle logic also comes through in full force with no time to ramp -- progressing in the game relies heavily on prior knowledge of the landscape and characters. I asked for more puzzle complexion in my review of Broken Age: Act 1, and boy did I get it. The puzzles are of the same kindred as the first act -- difficult to piece together at first, with a dash of trial and error mixed in. However, this time around the obstacles are far more difficult and obtuse, requiring deep creative thinking, but more often than not bordering on the “impossible to solve without help” realm. I found myself pondering puzzles for long periods of time until eventually giving up, clicking through every possible option as a last resort. Where the first part of Broken Age had more environmental exploration and shorter, more gratifying puzzles, the second act tends to lean on more long-term challenging puzzles. Puzzle solutions from the first portion of the second act were used throughout almost the entirety of the game -- much of my time was spent drawing out diagrams on post-its and endlessly referencing them. The ability to switch between stories is still present, which comes in handy when stuck on a puzzle or in need of a change of scenery. However, during certain parts of the game some puzzles require information from the other side of the story. This caught me off guard at first but was less annoying once it became obvious that this would be a theme throughout the latter half of the game. The bar from Broken Age: Act 1 is definitely met if not exceeded in Act 2 in terms of the visuals, nostalgia, and clever dialogue. However, the setting in the second act is practically the same as the first half of the game, with the exception of a few minor changes. Although I adore the characters in Broken Age and was happy to see them again throughout the second act, I had hoped to experience new scenery and perhaps new characters. The story in Act 2 goes in a strange direction, and feels rushed -- especially compared to the first act, which has an even progression and was much more cohesive. Conversations are had between characters that lay plot points out on the table very quickly, and in an uninventive way. It seems a tad thrown together, and I would have preferred to discover the plot through means of gameplay instead of having it explained via single lines of conversation. Unfortunately, by the end of the game I was also left with with a lot of unanswered questions. Since it had taken a year for this second installment to make it to us, I had expected a little more on that front. Broken Age: Act 1 was so perfect that perhaps my expectations were inflated when playing through the second half. However, despite the challenges Broken Age is still very much a beautiful game with a heartwarming story. The puzzles, as frustrating as they are, come from a place of creative invention that defines the point-and-click genre. I choose to treasure its high points-- the charming characters, ingenious dialogue, and silly childlike whimsy. [This review is based on a retail build of the game provided by the publisher. This reviewer also backed the game's Kickstarter campaign.]
Broken Age 2 review photo
Mostly worth the wait
[Disclosure: I backed the Kickstarter. A review copy was used for this verdict.] Three years since the launch of the infamous Double Fine Adventure campaign and a year after Act 1’s much-anticipated release, Broken Ag...

Telltale presents Marvel photo
Telltale presents Marvel

Telltale partnering with Marvel for new game series


Coming 2017
Apr 23
// Steven Hansen
Telltale is adding to its adventure game stable (Game of Thrones, The Walking Dead, The Wolf Among Us) with one of the biggest contemporary licenses, the Disney-owned Marvel, Telltale announced. The two companies are "teaming...
Sunset photo
Sunset

Snoop on the sidelines of a '70s revolution in Sunset


Releasing May 21, 2015
Apr 17
// Jordan Devore
The more I read about Tale of Tales' new game Sunset, the more curious I become. Amidst a brewing revolution in South America during the 1970s, players will inhabit a housekeeper as she cleans an apartment each week and optio...
Back in 1995 photo
Back in 1995

The new retro: Japanese mystery Back In 1995 looks like a PS1 game


Want to feel old? The PlayStation 1 is retro
Apr 17
// Steven Hansen
Ah, 1995. A good vintage. Earthquakes in Russia and Japan combined to kill nearly 10,000, the New York Times published Ted Kaczynski's manifesto, folks made Harlan Ellison's I Have No Mouth, and I Must Scream into a videogam...
Rapture photo
Rapture

PS4 exclusive Everybody’s Gone to the Rapture coming this summer


Still alive!
Apr 16
// Steven Hansen
Chinese Room's (Dear Esther, Amneisa: A Machine for Pigs) enigmatic Everybody’s Gone to the Rapture has a new trailer accompanying a PlayStation Blog post explaining that it's "a couple of weeks out from Beta."  I...
Samorost 3 photo
Samorost 3

Samorost 3 looks like the surreal point-and-click adventure of my dreams


That world design is something else
Apr 15
// Jordan Devore
The last time I wrote about Samorost 3, I expressed surprise and delight that Amanita Design was making another one of these charming point-and-click adventure games. Today, a year and a half later, I could do the same -- I ...
Arkham Knight photo
Arkham Knight

Batman comic will provide the Arkham Knight's origin story


His mother would not buy him a Nintendo and he became resentful
Apr 15
// Steven Hansen
If the headline sounded like "Arkham Origins," don't be frightened. Rocksteady is back and WB can't hurt you any more. Except with delays into late June. But that's a "it's for your own good" hurt, like forcing you to eat you...
Charnel House photo
Charnel House

The Charnel House Trilogy pulling in to the station April 16


It's a game about trains. Prepare for puns
Apr 14
// Joe Parlock
If I were a smarter man, I’d be railing to fit as many train puns in to this news as is possible, but I will conduct myself properly and keep us on track. Richard and Alice developers Owl Cave Games will be releasing it...
Deals photo
Deals

First episode of Telltale's Game of Thrones free on Android


Timely
Apr 13
// Jordan Devore
$4.99 is the usual asking price for episodes of Telltale's Game of Thrones series, but not today, valued Android user. The debut episode, Iron From Ice, is free if you download through Amazon. In his review, Darren said the g...
Witcher 3 opening photo
Witcher 3 opening

Watch the bewitchering first 15 minutes of The Witcher 3


Lilac and gooseberries
Apr 06
// Steven Hansen
This is the first 15 minutes of The Witcher 3: Wild Hunt, without the opening cinematic, but still with a couple minutes of cutscene followed by horse riding and monster smashing. I've yet to catch up on the series ahead of ...

Review: Dyscourse

Apr 06 // Darren Nakamura
Dyscourse (Linux, Mac, PC [reviewed])Developer: Owlchemy LabsPublisher: Owlchemy LabsReleased: March 25, 2015MSRP: $14.99Rig: AMD Phenom II X2 555 @ 3.2 GHz, with 4GB of RAM, ATI Radeon HD 5700, Windows 7 64-bit Rita is one of the six characters to survive a catastrophic plane crash on a desert island, and she functions as the only sane person in the group. George and Jolene are an older couple on the verge of divorce, Steve is an ultra-pessimistic corporate drone, Teddy is a paranoid conspiracy theorist, and Garrett is a gamer out of touch with reality. Each cast member is distinct, both in voice and back story. This serves to keep scenes interesting, even after the second or third time experiencing on, but it does suffer a bit in believability. Teddy and Garrett have some of the best lines, but they are such caricatures that it's difficult to take the whole thing seriously. Playing through one story takes roughly an hour, spanning about ten in-game days. In contrast to other choice-driven narratives (Mass Effect, Telltale titles), Dyscourse is built to be played multiple times. Not only is it short enough to warrant that, but it branches in such a way that experiencing all of the main plot lines would take at least three separate runs, and seeing everything requires even more. [embed]289893:58024:0[/embed] Between the crash and the end, characters can will die. Additionally, several modified pigeonhole principle situations come up: four characters are present but only three can fit on a raft, three are on the raft but there is only enough food for two, and so on. The result is that certain scenes can be experienced with several different combinations of characters, and the outcomes of those scenes may vary depending on who is present and in what physical and mental state. One such scene had Rita and Steven striking out to find food and coming across an abandoned military outpost. It is padlocked shut, but Steve has a hidden talent for lockpicking, so the duo can gain access. For those curious how the scene would have played out if, say, Garrett had come along instead, Dyscourse includes a "Day Rewind" feature that allows players to go back to the beginning of each day to see what would have happened if another option had been chosen. It's not quite as robust as I would have liked (some sort of functionality that visualizes or otherwise keeps track of which branches have already been chosen would have been great), but it's a nice addition nonetheless. In an example that shows how much certain decisions actually matter, one of my plays through had Rita fighting a jaguar and losing an arm. Later on, when it came to the big decision point opening the second act, one of the options was entirely locked out; Rita wouldn't be able to climb the mountain with only one arm. Less obvious examples pop up throughout. Though each of the other survivors is generally unhelpful and inept in most cases, each appears to have some special skill to help get through a particular situation unscathed. I'm convinced that there must be a way to leverage that perfectly in order to get all six survivors off the island, but after three and a half plays, I haven't found it. Though I have only managed to rescue three of six every time, I do feel like I am getting closer, gaining knowledge over time that can lead to a perfect run. Maybe I'm chasing ghosts. Special mention should be given to the sound design. The soundtrack never takes center stage, but it complements the part silly, part serious life-and-death adventure. Steel drums evoke the tropical setting without being too upbeat. Characters speak in Animal Crossing-esque warbles, allowing for the divergent storylines without requiring a huge volume of voice work. Dyscourse set out to be an adventure game in which player choice has significant effects on where the narrative goes. To that end, it succeeds. As a relatively short experience, it encourages players to replay, learning new information with each new choice. As a result of that, no one play through feels like a "true" one. Despite being so full of death and despair, it lacks the expected emotional weight, partly because of the cartoon presentation but mostly because there's always the option to try again and see what can be done differently. That said, each story crafted is fun and sometimes funny. Watching an early decision ripple out to future consequences, then rewinding and seeing what would have happened if something else were chosen is an entertaining exercise. I'm going to keep playing at least a few more times until I see all of the different scenes and maybe even find my true story. [This review is based on a retail build of the game provided by the publisher.]
Dyscourse review photo
Choose wisely
[Disclosure: I backed Dyscourse on Kickstarter.] A common thread in new school adventure and role-playing games is the emphasis on player choice, with an implied promise that through individual decisions players can build a u...

Sega Genesis horror photo
Sega Genesis horror

New horror visual novel resurrects the Sega Genesis


Sasha Darko's Sacred Line Genesis
Mar 27
// Jordan Devore
Every so often we hear about a new game for old consoles and while I haven't yet splurged on a physical copy of one of these titles yet, I dig the idea. WaterMelon, the group behind the RPG Pier Solar, is publishing a horror...

Review: Game of Thrones: A Telltale Game Series: The Sword in the Darkness

Mar 25 // Darren Nakamura
Game of Thrones - A Telltale Game Series: The Sword in the Darkness (Android, iOS, Mac, PC [reviewed], PS3, PS4, Xbox 360, Xbox One)Developer: Telltale GamesPublisher: Telltale GamesReleased: March 24, 2015MSRP: $4.99 (episode), $29.99 (season)Rig: AMD Phenom II X2 555 @ 3.2 GHz, with 4GB of RAM, ATI Radeon HD 5700, Windows 7 64-bit [Editor's note: there will be no major spoilers present for the episode reviewed here, but events in previous episodes may be discussed.] Like the previous episode, The Sword in the Darkness opens with Asher across the Narrow Sea. Hothead that he is, his sections always seem to be more action-oriented than the others. As an introduction to the episode it sets an energetic tone, though most of the other sections follow the more subdued light exploration and dialogue trees Telltale is known for. Asher is presented with a major this-or-that decision early on, and it comes during such a panicked situation that I was actually caught off guard by it, despite knowing what to expect by now. The scene does a good job of getting the adrenaline pumping and then presenting players with an impossible decision. I think I shouted some profanity at my monitor when it showed up. Well played, Telltale. Though Asher is charming and fun, Mira's tribulations in King's Landing continue to be the most interesting. Cersei, Tyrion, and Margaery all show up, and each wants something from the eldest Forrester daughter. Though the audience with Cersei in episode one was nerve-wracking, the politicking here provided the most sustained tenseness in the series. [embed]289414:57887:0[/embed] Cersei doesn't want Mira associating with Tyrion, Margaery wants her marriage into the Lannister family to go smoothly, Tyrion wants to team up with Mira to make some money, and Mira wants to give her family the best chance at survival by manipulating relationships in King's Landing. Keeping everyone happy while still achieving Mira's objective requires delicate balance, and there are very real consequences presented for crossing any of the major players. Mira's navigation of nobility politics feels more like Game of Thrones than any previous encounter. Previously, Gared hadn't been too important in the overall story of House Forrester, but now his purpose is made clear. The North Grove plot point introduced in episode one and ignored in episode two is revisited, and it sets a more tangible goal for future episodes. Where before it seemed like Gared being sent to The Wall was just an excuse to show scenes with Jon Snow, now it seems like a carefully calculated decision, both in-universe by Duncan and outside by Telltale. I'm much more interested to see where Gared's story goes now than I was coming into episode three. The most focus is placed on the events at Ironrath, where the Whitehill soldiers are becoming increasingly unruly. There are a couple of different approaches to take, but even if the player decides to go down one path, there are a number of scenes that test resolve. The smart choice for the long run is rarely the one that feels right in the moment. It's a strange situation, because Ironrath's state by the end of The Sword in the Darkness is obstensively worse than it was at the end of The Lost Lords, but I feel more optimistic about the future. As Rodrik, I made choices for the greater good that I thought might let other characters down, but the team all appeared to be on the same page. For the first time in the series, I don't feel like I have made all of the wrong choices. For sure, sacrifices had to be made. Not everybody ended up happy. By some metrics, each of the playable characters is worse off than before. But as a whole, the group finally has direction. Where the first two episodes took their time setting up the narrative machine, The Sword in the Darkness finally puts that machine into motion. Telltale's initial promise that each character's actions will ripple out and affect the others is coming to fruition. I only expect to see that even more with the next episode. [This review is based on a retail build of the game provided by the publisher.]
Game of Thrones review photo
The wheels are in motion
Telltale seems to be getting into the swing of things with Game of Thrones, in more ways than one. For starters, it only took seven weeks since the last episode for this one to come out. If Telltale can keep up that pace, the...


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