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2K Australia photo
2K Australia

2K Australia completely demolished

Complete closure, all jobs lost, nothing left
Apr 16
// Laura Kate Dale
Today is truly a sad day for the Australian game development scene as the country's final AAA game development studio, 2K Australia in Canberra, is being closed down. Most recently known for developing Borderlands: The Pre-Se...
Butts photo

Laura's Gaming Butts: Bord-Arse-Lands

Give me a handful of that Handsome Jack ass
Apr 16
// Laura Kate Dale
Hello all and welcome to Laura's Gaming Butts, Destructoid's weekly YouTube show about butts in videogames. Yep, it's a video podcast where I get guests in to talk about butts. Professional journalism at its finest. This wee...
Interior decoration photo
Interior decoration

A ridiculously gaudy living room set for one big Borderlands fan

Some of it's pretty neat, though
Apr 15
// Brett Makedonski
Avid Borderlands players thrive on the thrill of picking up a rare and unique gun. 2K's triggering that same dopamine effect for one lucky fan with a one-of-a-kind living room set. The winner better like the color gold....
Game News Haikus photo
Game News Haikus

Game News Haikus: Sexy Final Fantasy, amiibogeddon, Bloodborne trick, and more

Zen distilled stories
Apr 07
// Darren Nakamura
Nintendo took a big spot in last week's news, with the highs of the Nintendo Direct and the lows of the Wave 4 amiibo rollout. Does that give the company perfect balance, like a haiku? I'm not sure. In this series, we take a...

Review: Borderlands: The Pre-Sequel: Claptastic Voyage

Mar 29 // Darren Nakamura
Borderlands: The Pre-Sequel: Claptastic Voyage (Linux, Mac, PC [reviewed], PS3, PS4, Xbox 360, Xbox One)Developers: 2K Australia, Gearbox SoftwarePublisher: 2K GamesReleased: March 24, 2015MSRP: $9.99 (included in Season Pass and The Handsome Collection)Rig: AMD Phenom II X2 555 @ 3.2 GHz, with 4GB of RAM, ATI Radeon HD 5700, Windows 7 64-bit With the premise of entering the mind of Claptrap, The Pre-Sequel had a ton of freedom with where it could go and what it could do. As with the Dungeons and Dragons-esque setup for Tiny Tina's Assault on Dragon Keep, the narrative hook allows Vault Hunters to leave the planet of Pandora (or its moon Elpis) in favor of even more fantastic locales. In practice, Claptastic Voyage takes players from the samey blue-gray moon surface and industrial complexes to samey blue-gray electronics (that look a lot like industrial complexes). At least, that's how the first half goes. It's immediately disappointing that the limitless setting produces such uninteresting environments, but that changes further in. A little ways into the DLC the Vault Hunters can access Claptrap's old memories, revisiting areas featured in previous titles like Fyrestone or Overlook. Eventually, the shooting goes deep enough into Claptrap's mind to find wholly original, diverse environments. The Escherian temple of Claptrap's subconscious is particularly fun to explore. One thing that Claptastic Voyage does especially well is to fill in gaps in the overarching story that have only previously been hinted at. It does this with the memory exercise in Overlook, illustrating the town's deterioration to the state players find it in Borderlands 2. It ends with a direct lead-in to BL2, showing how Claptrap meets Sir Hammerlock in the frozen tundra on Pandora. It even goes so far as to explain Claptrap's penchant for dubstep where it wasn't present in the original Borderlands. [embed]288904:57729:0[/embed] All that said, while the details are cute for fans of the lore, the main plot in Claptastic Voyage has been done several times in the Borderlands series. Perhaps it's intentionally self-referential, but the plot device that introduces the main villain early on as an ally who "unexpectedly" betrays the heroes is tired at this point. He is clearly designed to let the player know what's up, so watching the characters go along and be flabbergasted by the betrayal creates a sort of disconnect between player and protagonist. At a micro level, the writing follows what we have come to expect from the series. Though it isn't as laugh-out-loud funny as Tales from the Borderlands has been, it hits the right notes of dark comedy. It manages to get through its eight-to-ten hour campaign without making nearly as many pop culture references as the last few games in the series have done. Gameplay is largely unaltered from The Pre-Sequel's main campaign. It remains fast and frenetic to moon jump and butt slam between enemies. There are very few zero-atmosphere environments in Claptastic Voyage, so players are free to use the double jump without having to worry about running out of oxygen. Almost all of the enemies are new in some way, with viruses, bugs, and protection software given physical manifestations to explode. Even the old standby enemies like bandits and psychos behave a bit differently, able to phase in and out of existence occasionally since they are computer projections generated by Claptrap's memory. The theme of software given life extends to in-universe advertisement, with foes who do nothing but stream audio to the player until they are destroyed. There are also pop-up ads: chest-high walls that appear from the ground and can either be closed or serve as randomized mini stores for health or ammunition. The final boss deserves special mention, though not necessarily for the best reasons. It begins as an interesting fight, with a lot of different tasks the player has to juggle. There are jump pads, helpful "volatile bits" to trigger, lava to avoid, small enemies to keep at bay and use for revives, and the main boss who can deal some serious damage if he is ignored. It's exciting for the first 10 minutes. Then it keeps going. Then the boss transforms and recharges his shield. Then it keeps going. Then he transforms and recharges his shield again. I timed it; it took me 45 minutes to solo that one fight, and that was on my second try. (On the first try, I spent what felt like an hour, made it to his final form, died, and started back at the beginning of the fight. I quit for the night.) It illustrates how 2K Australia can get some aspects of Borderlands so right, but just miss the mark in other ways that bring the whole experience down a bit. The boss just has too much health, and that one element turns it from an interesting fight into a slog. It's almost as if it is intended to be a raid boss, except that it's required in order to complete the story. In fact, there is no optional raid boss like there have been in past Borderlands DLC packs, which is a little disappointing considering how phoned in the raid boss in The Pre-Sequel's main game is. That said, 2K Australia does its own thing for high level content. In addition to farming the end boss for Legendary drops, a special arena unlocks after getting through the story. It boils down to fending off waves of enemies in an arena, but it allows parties to customize various aspects of the battle. Players can increase or decrease the difficulty and add "mutations," like bonus damage for certain gun manufacturers or increased magazine size at the cost of decreased reload speed. Of course, more difficult settings yield more valuable loot. It's an interesting idea that I'd like to see explored further in future installments. Overall, Claptastic Voyage is an improvement to Borderlands: The Pre-Sequel. It seems like 2K Australia has been listening to a lot of the criticism of the base game. Aside from some invisible walls, I didn't experience any of the bugs here that detracted from The Pre-Sequel. The environmental design starts off disappointingly unimaginative, but soon goes to unexpected places. The core gameplay is as fun as it has ever been. However, Claptastic Voyage still suffers from some of the problems that plague the entire series. The main plot is average, lacking any real standout moments worth discussing. It exists as a vehicle to get players between gunfights or to the more entertaining optional missions. This won't go down in history as an example of exceptional DLC, but it does what it does well and it's worth the time to play through.
Claptastic Voyage review photo
With Borderlands: The Pre-Sequel, I like and dislike different parts of it in almost equal measure. The combat is exciting and the characters are likable. On the other hand, the environments are a little dull and it suff...

Borderlands DLC screens photo
Borderlands DLC screens

Borderlands: Claptastic Voyage screenshots, we got 'em

Full spoilers ahead
Mar 29
// Darren Nakamura
The first and only big story piece of downloadable content released for Borderlands: The Pre-Sequel earlier this week, and I just finished playing through it. As usual, I took a bunch of screenshots as I played through. Fair ...
Borderlands Golden Keys photo
Borderlands Golden Keys

Celebrate Borderlands: The Handsome Collection by stocking up on Golden Keys

Why grind for loot when it's right there in a golden chest?
Mar 24
// Darren Nakamura
Borderlands: The Handsome Collection is out today. One of the major selling points for those who have already played Borderlands 2 and/or Borderlands: The Pre-Sequel on last generation hardware is the ability to import save d...

Lots of games are morally bankrupt, we get it

Mar 19 // Anthony Burch
Most games are horrifying celebrations of violence and empowerment that prioritize aggression over compassion, and competition over empathy. And that's completely fine. (So long as the game, and the audience, know that that's what is going on.) We all -- to some extent or another -- are aware that the art and media we engage with can often be full of shit. We often love our art for being full of shit! I love Doctor Who, and it's one of the most full-of-shit television shows of all time! It champions optimism and mercy without ever approaching anything even remotely similar to a real-life dilemma, and -- so long as you know that's what it's doing -- it's a perfectly fine bit of escapism. And so it is with violent videogames. Yes, it's really, really weird that you run around massacring orcs because They're The Bad Guys, and it's even weirder that we were more excited to massacre them in Shadow of Mordor specifically because they felt more human. They felt like people with lives and backstories and that made it way more satisfying to slice their heads off what the fuck. But! It's escapism. It's full of shit, but it's full of shit in a way that is decidedly fun and effective. Should we ask greater questions about why Shadow of Mordor is fun, and consider how its fun-ness might be inexorably linked to racism and classism? Absolutely. Should we stop playing Shadow of Mordor and paint everyone who enjoys it as an enormous pile of human waste? Of course not. Or, to quote Anita Sarkeesian: "It is both possible (and even necessary) to simultaneously enjoy media while also being critical of its more problematic or pernicious aspects." (A quote that, if more people actually listened to, might have resulted in a way goddamn calmer gamer culture over the past few years.) So, it's okay to enjoy sadistic, weird, violent bullshit, so long as all parties involved know that that's exactly what they're doing. The only real problem, to me, is when that bullshit starts pretending to be about something else. Going back to Shadow of Mordor -- which was unquestionably my favorite game of last year -- I loved the over-the-top violence and the multitude of horrific things that you could do to your enemies. I distinctly did not love the story that tried to morally justify those things. The story of Talion's vengeance, and how justified he was in killing all those orcs because they are inherently "vile, savage beasts" (again, you should really read Austin Walker's article), is kind of nonsensical. It gets the player from A to B, sure, but it never stopped feeling weird for the game to paint Talion as a hero with one brush, and then allow you to decapitate an orc who is defined by a very human, relatable fear of fire moments later. But we've heard this argument before, right? Ludonarrative dissonance, blah blah blah. We've heard this argument so much, in fact, that it spawned an entirely new genre of games: the Violent Games That Criticize Violence And People Who Enjoy Violence genre. Anyone who has played Hotline Miami will remember the constant, enigmatic questions posed to the player by its cast of animal-faced murderers. "Knowing oneself means acknowledging one's actions." "You like hurting people, don't you?" "You're not a nice person, are you?" "Do you like hurting other people?" On its surface, these questions -- questions that many games pose to their players -- are deep, interesting queries. Functionally, though, they do nothing but jab an accusatory finger at the player. You fucking caveman, they shout. What's wrong with you? Why do you like this horrible, violent pornography? The answer to these condescending questions is simple: because these games are fun, and you know they're fun, and you spent hours and hours and hours of development time making sure I'd find them fun. These games never broach the actual social or biological reasons we find violence entertaining. Evolutionarily, it's to our advantage to find violence more stimulating and interesting than other aspects of the human experience, because a failure to find violence noteworthy can result in our deaths. Culturally, there are reams and reams of academic papers on violence as a (chiefly male) expression of worth and power that can often poison the aggressor almost as much as their victim. These games don't address that. Far Cry 3 says you like violence because you're a racist, simple-minded tourist (or at least, you have no problem taking on the role of one because, as a player, you're so eager to get to the murdering that your avatar is meaningless). Hotline Miami says you like it because you're kind-of-sort-of-bad-person-I-guess-but-maybe-not-really-I-don't-know. Spec Ops: The Line suggests you've just never given any thought to what the hell you've done as a player of games. These games chastise the player for enjoying consequence-free violence, right before offering them a smorgasbord of beautifully rendered, lovingly visceral consequence-free violence (Spec Ops less so, as it actually gives a shit about the choices you made in the story. Additionally, it forbids the player from being as graphically sadistic toward his or her enemies as FC3 and Hotline Miami). This is kind of weird, right? This is a hypocritical way of having your cake and eating it too -- of pretending you're making a grand statement about violence, without actually saying anything of note beyond -- bizarrely -- blaming the player for buying your game. If a game truly cared about exploring violence and its consequences, wouldn't it bake that into its game systems? XCOM, to me, is a greater treatise on violence and death than any of the other games I've mentioned because its systems force the player to make real, consequential, dynamic choices about the value of life. Should I put my elite assault trooper into the path of a crysalid if it means that he'll be able to save two or three civilians? Is it worthwhile to use my rookie to draw a sectoid's fire, just so my sniper can get a shot off? How much do I care about "winning" versus being a good person? What is the actual, financial cost of a human being? XCOM, while seemingly just a silly game about marines fighting aliens, directly engages with these questions in a way that the Hotline Miamis and Far Crys of the world never do. (And what's more, they do it without relying on gore for spectacle's sake). The answer for that is, perhaps, obvious: because it's hard. Because to do so is expensive, and means you're making a mechanically complex game in a time where it's easier and cheaper and often more profitable to make simple games. But if you're going to make a simple game that casts the player in a simple, hyperviolent role, why pretend to be an exploration of violence when your game mechanics obviously aren't? Why not go the other direction? Why not celebrate the fact that you're, to be brutally cynical, kinda full of shit? That's what Borderlands 2 was about -- from my perspective, at least. (It should probably go without saying, but a TON of people worked on Borderlands 2, and though I wrote about 90% of the dialogue, that dialogue makes up a comparatively small percentage of the overall Borderlands 2 experience. I can only speak for myself, and my own frame of mind when I worked on the game.) Early on, after the player kills a few psycho bandits, I had Claptrap comment on the battle: "Minion! What did you DO?! Those people had LIVES, and FAMILIES, and -- nah, I'm totally kidding. SCREW those guys!" As a joke, this line of dialogue isn't great. It's too long, its punchline is obvious, and it's just plain not all that funny. But nonetheless, this was a line I found myself coming back to as a thematic touchstone for the series as a whole. Yes, you are a murderer. Yes, you only exist to kill people and rob their corpses so you can kill more powerful things and rob more shiny stuff from their corpses. But it's all bullshit, so don't sweat it. Don't forget that you're being kind of a murderous antihero, but have fun with it! It's entertaining to be a murderous antihero. Don't pretend you're something that you're not (a hero), but don't beat yourself up over your antiheroism -- revel in it. There was a bit of internal worry about casting the player as such an amoral mercenary, but by making the bad guy an even bigger asshole, and by surrounding the people with (hopefully) charming, equally amoral good guys, everything basically turned out okay. We didn't, to my recollection, get any letters about how horrific it was to play as an antihero -- if anything, people seemed to enjoy that Borderlands was so jovially honest with its players about what it was and what it asked them to do. Saints Row works for exactly the same reason. The first two Saints Row games can often veer toward the horrifying, as the player upholds "values" like loyalty (which manifests itself in the player brutally murdering Julius, the founder of the Saints who rats on them in an attempt to bring peace back to Stillwater) and justice (which sees the player kidnap an unarmed woman, lock her in the trunk of a destruction derby car, and trick her boyfriend into ramming her to death as a means of avenging one of their fallen comrades). But Saints Row 3 and 4? The games where the franchise fully accepted just how batshit insane its players, characters, and world are? God damn, those are some good fucking videogames. Yes, your only method of interaction with civilians sees you punching or bludgeoning or shooting them. "Fuck it," the game says -- "let's incentivize that kind of behavior by making civilians drop health when you kill them." The moment Saints Row stopped trying to make serious statements about anything was the moment it reached its full potential. It accepted its own ludicrousness, and in so doing became the most honest videogame ever made: you play like a psychopath in these games, so we'll cast you as a mass-murderer and have everyone talk about how hilariously fun it is to be a mass-murderer. Fuck it, we'll make you president because you were so good at being a mass-murderer. Sure, the Saints Row games aren't "deep" (except for the fact that they totally are, thanks to their treatment of sexuality), but they're honest. Their messages, such as they are, match up perfectly with their mechanics. In my dumb, ex-game-dev opinion, XCOM and Saints Row represent the two best ways of actually tackling violence in games. Either build your systems around violence and its consequences -- actually force your players to answer questions of morality and power for themselves --  or just throw up your hands and create a world where the player can have fun being a total piece of shit. Above all, just be honest in what you're doing -- don't pretend your game is about How Bad Violence Is when it's really about How Awesome Pixelated Blood Looks.
Immoral games photo
Now move on, already
With Hotline Miami 2 recently released, I realized I am really, really tired of games that belong in its genre. When I say "genre," I refer not to "action games" or "indie games" or even "violent games," but a subtler, more h...

Gearbox photo

Gearbox details process for importing saves into the Borderlands Handsome Collection

From old to current-gen
Mar 18
// Chris Carter
When you pick up Borderlands: The Handsome Collection later this month, you'll have the opportunity to transfer your old save file for both included titles. It's actually pretty easy this time around, as all you'll need ...
Borderlands screenshots photo
Borderlands screenshots

Tales from the Borderlands Episode 2 screenshots, we got 'em

Over 100 Atlas Mugged screenshots
Mar 17
// Darren Nakamura
Another Telltale episode, another excessively large set of screenshots taken as I played through with an Xbox 360 controller while keeping my pinky finger on the F12 key. Tales from the Borderlands still looks great despite t...

Review: Tales from the Borderlands: Atlas Mugged

Mar 17 // Darren Nakamura
Tales from the Borderlands: Atlas Mugged (iOS, Mac, PC [reviewed], PlayStation 3, PlayStation 4, PlayStation Vita, Xbox 360, Xbox One)Developer: Telltale GamesPublisher: Telltale GamesReleased: March 17, 2015 (Mac, PC)MSRP: $4.99, $24.99 (Season Pass)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.] To its credit, Telltale owns up to the long wait between episodes. The opening line is Marcus commenting on how long it has been since the last part of the story. Then he goes into a recap of the main events from Zer0 Sum, leading into the beginning of Atlas Mugged. Hyperion executive Rhys and Pandoran con artist Fiona have stumbled onto some unknown but hopefully valuable Atlas technology, just in time for a digital reconstruction of Borderlands 2 antagonist Handsome Jack to load into Rhys's mind. Jack comes and goes over the course of the episode, typically when Rhys suffers head trauma, and he often offers his brand of morally bankrupt help. Though he only appears during certain scenes, Handsome Jack sort of steals the show. Rhys, Fiona, and the rest of the gang have some good lines, but Telltale's treatment of Jack is on point. He is simultaneously deplorable and hilarious, which serves the concept of Telltale adventure games well. In Borderlands 2 he was a likable villain; in The Pre-Sequel he was a detestable hero. Here, he can be either, allowing the player to choose whether to heed his more outlandish suggestions or to risk progressing without his aid. [embed]288757:57654:0[/embed] Episode 2 has the two protagonists separating and reuniting again and it still works great as a narrative device. Seeing the what from one perspective and then the why from the other gives extra insight to events, though Atlas Mugged lacks some of the punchier revelatory moments that Zer0 Sum had. There are still some secrets set up for later, like the function of the Gortys Project or the identity of the paddy hat-clad character. Fiona gets an upgrade to her single-shot pistol in this episode, allowing it to deal an elemental damage of her choice among incendiary, shock, and corrosive. Knowledge of the shooters in the series seems to help with knowing which element to use in which situation. Another kink thrown in is in addition to having limited ammunition, each element appears to be usable only once, so players may be locked out of one they want for the future. It's the kind of inter-episode mechanic that may or may not pay off intellectually until later. Neither of the established characters who made cameos in the first episode show up again here, but a few new ones do. Scooter and Athena are among those who make an appearance, and I hope for the narrative's sake that this isn't the last we see of them. Given her background with the Atlas corporation (see: The Secret Armory of General Knoxx) Athena plays a particularly interesting role that brings up questions I hope to see answered. From a gameplay perspective, this runs by the standard of modern Telltale titles. It includes the unique Borderlands hooks like Rhys's bionic eye and Fiona's management of money, but they are less emphasized than in the previous episode. Tales still feels like a Borderlands game, but slightly less so now than before. Though puzzles have basically been expunged from Telltale's modus operandi -- and I have come to terms with it -- there is one section where it still stings a little to think about. In it, Rhys has to restore power to an electronic system and it skirts the edge of requiring just a touch of critical thinking, but it ends up being a simple exploration exercise. The setup almost begged for some sort of puzzle; it was disappointing that the solution was so mundane. Past that, the main gameplay is exactly what we all expect from Telltale. Dialogue trees, quick-time events, and the occasional big choice to make. Keeping consistent with the first episode, the writing is sharp, the jokes are plentiful, the plot is intriguing, and the action is over-the-top. What it lacks is easily forgiven because what it contains is really good. Visually, Tales from the Borderlands is as great as ever. The bright colors and hard edges still work well with Telltale's engine, and they juxtapose against the dark comedic themes in a way that never seems to get old. I did experience a couple of minor graphical glitches, but 99% of it ran like a dream. In the end, Atlas Mugged is not quite as good as Zer0 Sum. It had me chuckling five minutes in, but there were fewer laugh-out-loud moments. It maintained high intensity in its action sequences, though none quite compared to the earlier death race. It used the unique Borderlands mechanics just a bit less. Its narrative lacked any jaw-dropping twists or powerful moments of clarity, but it still remained engaging throughout. Though it is slightly less than excellent, it is still great, and I can hardly wait to see where it goes next. Telltale, please don't make me wait so long before Episode 3. [This review is based on a retail build of the game provided by the publisher.]
Borderlands review photo
It's here Atlas
[Disclosure: Anthony Burch, who consulted on the story for Tales from the Borderlands, was previously employed at Destructoid. As always, no relationships, personal or professional, were factored into the review.] Tales ...

Borderlands Pre-Sequel photo
Borderlands Pre-Sequel

Borderlands: The Pre-Sequel's Claptastic Voyage trailer shows glitch guns, confetti

And 'irreparable psychological trauma'
Mar 11
// Darren Nakamura
Gearbox showed off the trailer for the upcoming Borderlands: The Pre-Sequel downloadable content to a select group of fans during its panel at PAX East, but it is now available for anybody to watch. Maybe even you? Yes, if y...
Game News Haikus photo
Game News Haikus

Game News Haikus: Gigantic, Borderlands, sex, and more

Zen distilled stories
Mar 11
// Darren Nakamura
This week's episode a little late, courtesy of PAX East. I'll make it up to you, I promise. Last week D. Takeshi Nakamura had a little accident, inserting a line with a deplorable six syllables in it, which some keeping trac...
Telltale Borderlands photo
Telltale Borderlands

Tales from the Borderlands Episode 2 trailer brings more bangs and booms

Atlas Mugged
Mar 09
// Darren Nakamura
Yesterday, PAX East attendees were treated to a sneak peak of the trailer for Tales from the Borderlands Episode 2: Atlas Mugged. Today, it is available for mass consumption. Things are heating up on Pandora for Rhys, Fiona,...
Gearbox x Harmonix photo
Gearbox x Harmonix

Borderlands characters are now in Dance Central Spotlight

From Inside Gearbox panel
Mar 08
// Darren Nakamura
Gearbox and Harmonix have worked together in the past with a dance section in one of last year's trailers for Borderlands: The Pre-Sequel. At the PAX East Inside Gearbox panel, Gearbox and Harmonix announced a new p...
Telltale Borderlands Ep 2 photo
Telltale Borderlands Ep 2

Tales from the Borderlands Episode 2 set to release week of March 17

Atlas Mugged
Mar 08
// Darren Nakamura
Telltale's panel came and went with some fun stories of the studio's journey but nary an announcement of what the developer is doing now. Judging from the comments in just about every Telltale article that goes up, the second...
Borderlands Pre-Sequel photo
Borderlands Pre-Sequel

Borderlands: The Pre-Sequel: Claptastic Voyage comes out March 24

Inside the mind of Claptrap
Mar 08
// Darren Nakamura
During today's Inside Gearbox panel at PAX East, Gearbox unveiled the trailer for the fourth piece of Borderlands: The Pre-Sequel downloadable content. The story content picks up after the end of The Pre-Sequel and leads into...

Borderlands: The Handsome Collection shines in some spots, has problems in others

Mar 05 // Brett Makedonski
Having demoed both games in The Handsome Collection, The Pre-Sequel came off as simply unimpressive. Moving it to current consoles and harnessing the increased power of the PS4 isn't enough to make the four-player local co-op consistently work. Requiring the game to render everything four times over took a noticeable toll on game performance. Despite playing a level that was relatively unpopulated, the frame-rate dropped an annoying amount. It's likely that this won't be the case with fewer users, and there's always the possibility it'll be patched out through optimization in the coming weeks. Another niggling spot in The Pre-Sequel was the menu interface. It's oddly zoomed in by default, and the player needs to zoom out to see the full picture. Although it didn't present much of a problem in our brief demo with a throwaway character, players who actually care about their character builds and weapons will be in and out of those menus with great frequency. [embed]286397:56948:0[/embed] For as much as The Pre-Sequel didn't impress, Borderlands 2 absolutely did. Playing the Tiny Tina add-on, our group of four made our way through extremely busy sections with no dip in performance. That's where Handsome Collection players who look forward to local co-op are going to be most pleased with this package. Apart from those impressions, these are basically identical to the two games as they were on legacy consoles. Gearbox confirmed that nothing's been changed with regard to any overarching systems such as drop rate. It's the Borderlands you already know and (maybe) love. Actually, as far as The Handsome Collection goes, you might be better off not knowing Borderlands yet. It seems like it's a nice introductory package for those that held off on exposure to the series. Anyone that has an extensive history with it will welcome the ability to import characters from legacy consoles (including level, Badass Rank, and campaign progress), but nothing shown marks much of an improvement from what's already been played. Aside from four-player local co-op, it probably doesn't offer enough incentive to most people to convince them to re-invest.
Borderlands preview photo
Borderlands 2 impressed, The Pre-Sequel did not
Traditionally, Game Developers Conference is a very busy show. After what seems like a three-month hibernation, the game industry slowly creaks back awake and GDC is the first time everything's in full gear again. As always, ...

Borderlands photo

Borderlands leaving old gen behind

New gen gets all the newness
Feb 03
// Robert Summa
Coming out of an always-exciting earnings call that publishers love to have, it was revealed that the next Borderlands game will be for next-gen only (or new gen or current gen or whatever gen you want to fight about on the I...
Burch leaves Gearbox photo
Burch leaves Gearbox

Borderlands 2 lead writer Anthony Burch is leaving Gearbox

Going to Los Angeles to work on a new RocketJump project
Jan 30
// Darren Nakamura
Almost five years ago, Anthony Burch went from being a Destructoid staff member to a Destructoid alumnus, moving on to work as a writer at Gearbox Software. On his personal Twitter account this morning, he announced that he w...
Borderlands bug photo
Borderlands bug

Borderlands players: Don't go grinding purple hauls

Please stick to the commons and the blues that you're used to
Jan 27
// Brett Makedonski
[Update: A patch released in November added the option to grind three purples. Therefore, this is not as useless of a bug as originally thought.] Anyone that plans to hop around the moons of Pandora today might want to t...
Lady Hammerlock video photo
Lady Hammerlock video

Borderlands' Sir Hammerlock thinks his sister is an 'exceedingly bad person'

'She's wealthy, she's merciless, she's not a hero'
Jan 27
// Darren Nakamura
The Lady Hammerlock Pack of downloadable content is out for Borderlands: The Pre-Sequel today so 2K and Gearbox have released an introduction video for the Baroness. While she is not really a villain, she is not exactly a he...
Borderlands 3 photo
Borderlands 3

Gearbox 'ready to start' Borderlands 3, begins hiring process

This could be you, apparently!
Jan 25
// Mike Cosimano
During the official Borderlands panel at PAX South, Gearbox chief Randy Pitchford confirmed the company was "ready to start" production on a new game in the franchise, later taking to Twitter with an open call to developers l...
Deals photo

Dying Light 20% off, Borderlands and Dark Souls series on sale

Weekend deals, yo
Jan 25
// Dealzon
Next week Tuesday Dying Light will make it debut on the PC, Xbox One, and PS4. Originally pre-orders came with the "Play as Night Hunter" mode as a bonus, but it's now free to everyone. Kudos to angry mob effect. Current PC d...
Borderlands Pre-Sequel photo
Borderlands Pre-Sequel

Borderlands: The Pre-Sequel's new downloadable character is out this Tuesday

Gearbox hints about the upcoming story DLC too
Jan 25
// Darren Nakamura
The inaugural PAX South is wrapping up today, and Gearbox's panel just ended. We heard about the plans with Homeworld earlier, but the studio's cash cow for the past several years has been the Borderlands series, so of course...
Borderlands photo

Good lord, this $400 Borderlands edition has a Claptrap that's controlled with a mobile app

That's damn expensive and damn cool
Jan 20
// Brett Makedonski
Most high-end special editions of games come with the same sort of tchotchkes -- maybe a figurine, an art book -- that sort of stuff. 2K is raising the bar when it comes to limited editions, both in terms of content and pric...
Borderlands bundle photo
Borderlands 2 and Pre-Sequel with cross-saves
Rumors have circulated for months that Gearbox Software's Borderlands would be the recipient of some sort of upgraded port to current consoles. In fact, speculation was so strong that it was more a matter of what titles...

Borderlands photo

These are the most popular Borderlands characters

As decided by the fans
Jan 08
// Mike Cosimano
Per the official Borderlands Twitter account, Krieg, Claptrap, and Tiny Tina are the series' most popular characters amongst Borderlands fans. There's no clear indication which character received the most votes, but I wager C...
Borderlands Remaster photo
Borderlands Remaster

Australian Classification Board listing points to Borderlands collection on current generation consoles

You all saw it coming
Dec 11
// Darren Nakamura
It seems like every post about Borderlands has the same comments in it: a scathing remark about Aliens: Colonial Marines, a proclamation to wait for the Game of the Year Edition, and a prediction that 2K and Gearbox will...
Borderlands photo

Bonus mission for Borderlands: The Pre-Sequel ties into Tales

Help Dr. Nakayama with a secret project
Dec 09
// Darren Nakamura
[Update]: In an email to Destructoid, 2K has confirmed that the Handsome AI bonus mission will be included for free as part of the update adding Ultimate Vault Hunter Mode, not part of the Holodome Onslaught DLC pack that ret...

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