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.
Having now surpassed 500,000 downloads, Terra Battle fans will soon enjoy new characters from the original character and dragon model designer of Panzer Dragoon, Manabu Kusunoki. For more information on upcoming milestones and recently unlocked milestones, please visit Terra Battle's Download Starter.
While the Dynasty Warriors series is often heralded as the pinnacle of Omega Force's hack-and-slash catalog, the lesser-known Samurai franchise has been churning out some of the best games in the stable.
Based around the Sengoku era of Japan, Samurai Warriors mixes things up with unique offerings like ninjas, samurai, and historical figures such as Goemon Ishikawa and Musashi Miyamoto. If you can get past the repetition, Samurai Warriors 4 delivers another hearty helping of action the developer is known for.
Vib-Ribbon is a game by NanaOn-Sha (Parappa the Rapper, UmJammer Lammy) that was originally released on the PS1. It came to the United States for the first time just recently, by way of PSN. The original game allowed you to take the disc out of the PS1 and replace it with any CD. You could then play levels based on the sounds found on that CD. That's part of why the game has such minimalist visuals. The game's code had to be small enough to be stored in the PS1 on its own. Hence the black and white vector-based graphics.
It's amazing how NanaOn-Sha was able to create such charming and memorable characters with just a few lines. Vibri, the game's star, is a lovable scamp with tons of personality. With this article, I will do my best to follow in his footsteps by using as few lines as possible in my effort to convey to you the joy of Vib-Ribbon.
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.
Toys For Bob has found some rather interesting ways to evolve the Skylanders franchise. While the conceit the first time around was simply interactive toys, the developer mixed things up with giants on the second go, and with a mix-and-match concept (my personal favorite to date) after that.
Trap Team is the fourth iteration of the series, and the gimmick this time around involves tiny plastic pieces that essentially function as little Ghostbusters tools to ensnare enemies. While the core game is still as strong as ever, the trap mechanic isn't all that exciting.
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.
Natural Doctrine is a strategy role-playing game with a sadistic side. It's a brutal and uncompromising experience, one keen on taxing players and pushing them to their limits with its intense difficulty.
The architects behind the title invite comparisons with Dark Souls, and have certainly built a similarly steep hill to climb. Natural Doctrine is enigmatic and soul-crushing, but lacks execution and awareness. Simply being tough as nails doesn't make an experience rewarding.
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.
It's still tough to believe a fighting game based on the Persona series exists, let alone is any good, but Persona 4 Arena certainly came as a pleasant surprise. Atlus and Arc System Works are two distinctive studios known for creating very different types of experiences, but somehow managed to meld their unique strengths into a stellar fusion.
It must have been a difficult task, trying to charm two disparate audiences at once, but the developers proved more than capable of surmounting the challenge. Now they've returned with a followup in Persona 4 ArenaUltimax, hoping to make lightning strike twice.
Developing a licensed game can be extremely difficult. Not only does Monolith Productions have the Lord of the Rings film series to honor with Middle-earth: Shadow of Mordor, but the developer also has to work in many aspects of Tolkien's other works to weave together a story that calls from multiple sources.
In that regard Monolith has succeeded in creating something believable, but in the process, the game itself didn't receive as much attention.
With regard to sports games, the most important facet of any given title should always be the actual playing of the sport. That's how NHL 15 is. It mostly shines when you're on-ice, leading the charge through the neutral zone or lining up a bone-crushing hit on an unsuspecting forward. Damn EA for making me want to say this, but with NHL 15, when you're in the game, you're in the game.
But, if that's all that really matters, why's it impossible to overcome the feeling that its off-ice issues drag NHL 15 down like a player that just got viciously hooked from behind?