With the rise of high-definition re-releases, many fans have likely made a wish list of titles they hope will eventually get the HD treatment. Whether they be classics from the '90s or 2000s, we're seeing a variety of games find new life in today's market. Unfortunately, not every title can make that transition to modern consoles, be it for technical or design reasons.
Thankfully, Resident Evil is an exception. During a special hands-on session with the game, I experienced what it was like to return the mansion in full HD, and even got to speak with members of Capcom staff to learn about the challenges they faced with Remastered.
"Civilization, but set in the future on an alien planet." That is really all Firaxis and 2K needed to say to get people excited for the next entry in the long-running turn-based strategy series. There is a fair amount of new ideas to be found here: new systems to explore, new technology to research, and new obstacles to overcome.
But even with everything new, Civilization: Beyond Earth is still Civilization, but set in the future on an alien planet. And it is exactly as good as that sounds.
One of the biggest surprises of 2014 had to be the announcement of a Legend of Korra game, published by Activision and developed by Platinum Games. Yes, that Platinum Games -- the current master of action titles.
It's only been a few months since the reveal of said Korra game, and already it's out on just about every platform imaginable outside of the Wii U. While the core result is indicative of Platinum's seal of quality, it feels rushed in many ways.
I grew up happily playing Shinji Mikami's games, and he's probably one of the most influential directors/producers that ever lived. I remember the first time I played Resident Evil, the day I bought Devil May Cry from EB Games, and the exact moment when my friend showed me God Hand.
All in all Mikami has worked on over 20 major games that have impacted the industry in some way. Even if The Evil Within is one of the worst in the bunch, it's still in good company.
Back in 2012, Far Cry 3 turned out to be a surprise hit for Ubisoft. It became the bestselling title of the series, appearing on many game of the year lists, and also created a rather excellent spin-off title. But with the announcement of Far Cry 4 back in May, many fans were pretty psyched to have a new game exploring another exotic locale, but also surprised to see something come so quickly.
With the reveal and release happening within six months of one another, it all seems like it has been going too quickly, and we've never really had the opportunity to digest something substantial for the game. Thankfully, Ubisoft agreed and allowed some extended hands-on time with the upcoming open-world shooter. After experiencing some time with the game's open-world, I can say that November is certainly going to be interesting month with this title coming to market.
[Disclosure: Anthony Burch, one of the writers for Borderlands: The Pre-Sequel, was previously employed at Destructoid. As always, no relationships, personal or professional, were factored into the review.]
"If it ain't broke, don't fix it." I can imagine that mantra circulating the 2K Australia office as the team worked on Borderlands: The Pre-Sequel. Gearbox had a huge hit on its hands with Borderlands 2, and there is not much reason to mess with a winning formula.
To be clear, a lot of what matters is new. The story, playable characters, environments, dialogue, and physics are all new. Despite that, it all feels very familiar. Where a number of core systems were significantly upgraded between the first and second games in the series, The Pre-Sequel's additions are much less pronounced.
One odd aspect of some of the new content that this entry brings to the vault hunting universe is that it feels more like Borderlands than Borderlands 2 in some ways, for better and for worse.
It's really not all that long until Borderlands: The Pre-Sequel comes out, and you've already made a grave mistake. You didn't call dibs on Claptrap. Know how I know that? Because I'm writing this post right now. If you called dibs, I'd be doing something dumb like whatever dumb thing you're doing in your dumb life this very second.
Two years ago, Chris, Tara, Conrad, and Andy each called dibs on a Vault Hunter for Borderlands 2 before I ever could, and so I was never able to play it. All I could do was sit there looking at my copy, wishing I had called dibs first. I will not make that same mistake twice.
I have dibs on Athena. Simply put, Athena is the best. Don't worry, there are three other perfectly okay Vault Hunters for you to choose from. You should be all right, I guess. Anyway, here's why Athena is the best and I call dibs on her.
Mental illness is terrifying. Depression is a soul vampire that will suck the light right out of you. Obsessive compulsive disorder does not make you a supernaturally great detective like it does in the movies. It makes you paranoid and agitated, a raw nerve constantly scraping against a coarse world. The insidious, pervasive terror of mental illness can be far more horrifying than any chainsaw-wielding maniac could ever hope to be.
Which is exactly why Neverending Nightmares works.
They did it. Someone finally made an "idle game" that stuck with me and now here I am, almost two weeks later, still obsessing. Clicker Heroeshas succeeded where Cookie Clickerfailed.
Granted, it's the same basic premise: click on some things to accrue currency, then spend it on upgrades to make the money flow faster. It does not stop, not even when you close your browser because, shortly into playing, you'll no longer need to actively click. But you will anyway.
Clicker Heroes is progress for the sake of progress. But knowing that -- realizing you're not having "fun" -- doesn't matter. Any feelings of regret that begin to bubble up over wasted time spent playing this silly game when you could be doing literally anything else will be overpowered by how good it feels to buy that new upgrade, or beat a certain boss who's giving you trouble.
The original Costume Quest was a seminal game for Double Fine; it was the first game to come out of Amnesia Fortnight, a two-week period of experimenting with small-scale games. Costume Quest's success led the way for Stacking, Iron Brigade, and other download-only games.
Now, Costume Quest 2 is here just a few weeks before Halloween and it's delivering the same fun as the original. It may be a little too similar in some spots, but there are plenty of improvements to satisfy fans.
Modern-day Paris is vastly different than the city that served as the backdrop to one of the most famous uprisings in history: the French Revolution. Some of the greatest locales of the revolution are now gone -- either on the cusp of being forgotten by society, or repurposed altogether. The exact spot where the guillotine was used to behead Louis XVI can be pinpointed by going to Concorde Square and counting one, two, three lampposts in. The Bastille, the prison that was infamously stormed and destroyed is, well, destroyed. It’s been reduced to a scant few blocks next to a metro platform where commuters mostly ignore it. What was the residence of royalty now houses other treasures such as the Mona Lisa and Venus de Milo.
Therein lies the challenge for developers of Assassin’s Creed games. How do they capture the mood and atmosphere of a city that’s so far historically removed from present time? The setting is always the star of Assassin’s Creed titles, no matter which installment in the franchise you’re playing. But, they have to tread carefully because a dull city makes for a dull game.
From the old school "20th Century Fox" opening to the first few seconds, Alien: Isolation wants you to know that it takes after the first film from the series it was based on. One alien, one spaceship, one chance at survival.
This is the game we should have gotten from Gearbox.
Perhaps the biggest surprise about The Vanishing of Ethan Carter is that the developers behind the game were members of People Can Fly, the studio responsible for Bulletstorm; the idea that some of the people who came up with the over-the-top and potty-mouthed first-person shooter would go on to also make this contemplative, supernatural mystery.
It's a beautiful-looking game where players are tasked with finding a missing youngster but are quick to find that there are dark things lurking behind the lovely surroundings.
Local cooperative play is something that's been increasingly neglected in an age of videogames that pushes online connectivity seemingly first and foremost. It's ironic that titles like Destiny are the current benchmark for social experiences, when all communication is done through a headset. After all, it really doesn't get more personal than sitting next to someone on a couch and working (almost literally) hand-in-hand to achieve a goal.
Frima Studio hasn't forgotten these golden moments of yesteryear, and aims to recapture them with Chariot. The developers succeeded in their ambition. In fact, they pull it off so well, that you might find yourself short-changed when you don't have a partner in crime readily handy.