Thu, Dec 22, 2011
5:04 pm
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Apart from having the best potential name for a sequel ever in I Am Still Alive, Ubisoft’s post-apocalyptic survival game hasn’t had much going for it in the three years since it was initially revealed via a lavish CG teaser trailer. Over all of that time, only last month did Ubisoft first invite journalists to see the game first-hand and, with a Winter launch slated for the title, it’s presumably the last time it’ll be publicly demoed before an emergence on Xbox Live Arcade and PSN. This is a game that’s suffered one delay after another, has switched developer from Parisian outfit Darkworks to Ubisoft’s Shanghai studio, and has been converted from a triple-A boxed product to a 2GB digi-download console game. It’s been through the mill then, but there’s a lot more to this than a protracted game that Ubisoft is doing an accelerated PR job on to get it out of the door and off its release schedules as quick as possible. It might just be the next big thing to land on Microsoft and Sony’s digi-download platforms.

When the game’s Creative Director, Stanislas Mettra and Ubi Shanghai’s Business Development Director, Aurélien Palasse took us through the demo and answered some questions from journalists, a word that kept coming up was “expectations”. More specifically, the references were to the internal ‘quality expectations’ of Ubisoft for a triple-A boxed product, which I Am Alive failed to meet in its original form (hence why it was converted to a smaller, digi-download title). But don’t be misled by the business rhetoric of games publishers – in this context, not meeting quality expectations doesn’t necessarily mean that a game is less good or poorly executed; it’s much more likely to mean that it has less mass market appeal or that it’s not as easily accessible to casual/moderate gamers. Having seen I Am Alive in the flesh, without the dressed-up tricks of screenshots or trailers, we can honestly say that we’ve played many triple-A games (some of them Ubisoft’s) with much less impressive visuals and game design. That’s not to say I Am Alive is graphically stunning – it’s an intriguing game world with some decent post-apocalyptic vistas, certainly, but it’s no RAGE or Fallout 3 – it’s just to say that it’s about as good as a 6-8 hour game gets with 2GB of hard drive space to utilise (that’s the XBLA limit).

Another word that came up a lot during the presentation was “risk”. Stanislas Mettra was happy to talk about how developing for XBLA and PSN means that you can take more creative risks and potentially create a more innovative game – here on TVG, we haven’t been shy about mentioning that these platforms have spawned some of the best games of this generation, period. I Am Alive, then, is best described as a survival game (perhaps unsurprisingly), but what is surprising is that these survival elements aren’t solely focused on killing mutants/zombies/cannibals/insert post-apocalyptic beastie here. Instead, the kind of survival that takes centre-stage is merely travelling across the devastated environment – I Am Alive positions much of its survival gameplay around scaling the toppled skyscrapers and dusty underbelly of Haventon, the fictional city that’s depicted in Ubisoft Shanghai’s tale.

It all comes down to an inventive stamina gauge. While clambering across the ruins of Haventon in a style reminiscent of Uncharted’s Nathan Drake, I Am Alive’s protagonist loses stamina from the left-hand side of a dual-pronged energy bar. To recharge that left side of the bar, he needs to find a ledge or level ground somewhere to take a rest. Should he start running out of stamina mid-clamber, then you can press the trigger button to maintain the current stamina level, although this does come at the expense of some non-rechargeable health from the right-hand side of the gauge. This concept is then fleshed out with various pick-ups: pitons, for example, are single-use climbing hooks that can be nailed into the environment at any point. You can then hold onto them for a stamina recharge, although it goes without saying that you have a limited number of pitons and must scavenge the environment to find new ones. If, on the other hand, you find yourself running-down your health bar due to some poorly planned clambering, then medicine is also dotted around sparsely and can be used to renew the critical right-hand side of the meter.

In effect then, I Am Alive is in part a climbing game, albeit one where some vague apocalyptic nastiness has made climbing a lot more vital then merely scaling a summit for the challenge of it. And the apocalypse is certainly of the hazier variety – not much is known about it in terms of back-story other than it’s left a layer of dust at ground level that’s not very good for you. This also folds into the gameplay whereby you can’t spend too much time in the dust lest it run down your stamina bar and start eating into your health (see the tutorial vid at the bottom of this article). But it’s not all clambering and pitons either – although essentially linear in design, unfolding from one point-to-point task across a map to the next, I Am Alive also provides opportunities to explore through side-missions and saving ‘victims’. Should you successfully save a victim along your travels then an extra retry is added to your stash, and these are critical in the harder ‘Survival’ difficulty where restarts after death are limited.

Although not necessarily the focus of the game, combat does also play a part in I Am Alive. Ubisoft Shanghai has introduced some pretty interesting ideas here too, such as the hierarchy to factions you’ll come across on your journeys. Some factions are hostile while others are more friendly, and when you do come across a conflict there will often be a ring-leader with tougher armour/more lethal weapons. A key strategy is to take out this guy first as it can result in the remaining henchmen backing down and avoiding any further combat. Because ammo is also incredibly limited in I Am Alive’s world – making bullets very valuable – you’ll have to approach combat as frugally as possible, identifying the biggest threat in a group of attackers and taking them out first. Alternatively, stealth options are on-hand to circumnavigate enemies unseen or pick them off methodically with machete-aided stealth kills – you can even gamble when you’ve run out of ammo by pointing an empty gun at enemies in the hope that they’ll think better of it and give you a wide berth.

I Am Alive really does have a lot of exciting and innovative ideas going on inside its post-apocalyptic setting. It seems to be exploiting the benefits of developing for XBLA and PSN particularly well, and is undoubtedly the most intriguing digi-download console game currently residing on the release schedule for early 2012.

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Wed, Dec 21, 2011
2:20 pm
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Arcade-style video games are on the way out, or so analysts and CEOs would have us believe – Hollywood-style spectacles are what gamers want in a full-priced boxed product. Last year saw the release of two big budget arcade racers – Split/Second and Blur – both of which struggled for sales despite healthy reviews, ultimately resulting in the closure of the two British developers that created them (Disney’s Black Rock Studio and Activision’s Bizarre Creations). This year we’ve had an arcade shooter in the form of Codemasters’ Bodycount; a title that received a poor reception from critics and floundered in the charts. Again, this resulted in Codies closing the Guildford studio that made the game while publicly stating that investment will be focused on its core racing game IPs in future. Sticking with arcade shooters, another Bizarre Creations gem (in this site’s humble opinion), The Club received a lukewarm reception from critics in 2008 before dropping like an anvil on the sales charts. And then, of course, there’s the might of EA’s annualised Need For Speed series, the latest instalment of which (NFS: The Run) failed to even make it into the top 10 of the UK charts in its debut week last month (the first time this has happened with an NFS game in recorded history).

I could go on using examples like the pitiful state of affairs with Namco’s Time Crisis games this generation, or how the publisher’s Ridge Racer series failed to even be visually impressive with its latest iteration on Nintendo’s 3DS (when a Ridge Racer launch game looks rough, arcade racers are truly lost). And we, the consumers, are to blame – not, perhaps, for the crappy visuals of Ridge Racer 3D or the stunted attempt at publicity that Activision made with Blur, but ultimately our lack of interest and general malaise towards contemporary arcade design styles has led to their now inevitable demise at retail. It’s a crying shame in this writer’s humble opinion, because in an era when first-person shooters have become little more than a penis extension and action/adventure titles are often more concerned with emulating Hollywood than anything else, arcade gaming has a purity to it that’s lost on the blockbusters. It acts as a kind of antidote that reminds us exactly why we fell in love with video games in the first place: gameplay.

One bright light amongst this gloom has been the resurgence of fighting games, where Capcom’s Street Fighter IV has led the way and incoming Namco team-ups on Street Fighter X Tekken/Tekken X Street Fighter promise to keep up the pace of this reinvigoration. Other than that though, it appears the roots of coin-op gaming – that had remained so sturdy on consoles as arcade cabinets disappeared from the corners of our shopping centres in the late 90s – are now finally starting to rot from their base. Video game arcades are these days maligned to sleepy seaside piers, airport terminals, and depressing motorway service stations here in the UK where they host severely aged games at the old costing of 50p per play despite marked inflation and tax increases all around them (almost as if they’re in some kind of tragic time bubble). The genre of console games that have so successfully imitated and expanded in their wake over the last decade now appear doomed to a similar fate.

Or do they? As arcade gaming has fallen off the boxed product cliff edge, mobile phone apps have risen to prominence. Entirely by coincidence, the original arcade selling point is back in style: gaming for less than a pound or dollar. This market strategy of pursuing high yields of individual payments at low prices once again grips the game industry, and not just with gaming apps either. So-called ‘micro-transaction’, ‘free-to-play’, or ‘freemium’ games, which can now be found everywhere from Valve’s Steam service to Facebook, offer the highest rate of growth in any sector. The opportunity to play a game without charge but with the option to fast-track your progress, customise avatars, or unlock more content with relatively small payments is evidently a very popular one, from FIFA Ultimate Team to Battlestar Galactica Online, Team Fortress 2 and The Smurfs’ Village. As opposed to the traditional arcade experience, where you stuck another 50 pence piece into the cabinet because you ran out of lives and wanted to complete the game, now gamers pull another 50p out of their bank accounts to speed-up the grind of unlocking items or to bolster their gameplay experience. Both models revolve around the idea of small payments on a regular basis to further your progress in the game, but don’t take our word for it – Philip Reisberger, the Chief Games Officer at Bigpoint Games (which runs free-to-play titles like Battlestar Galactica Online and Battlefield Heroes) recently spoke with TVG and offered these comments on the matter:

“I see quite a lot of similarities between the arcade model, where you pay little instalments and decide whether you want to continue paying or not, and the free-to-play model. I think these two models are a lot more similar and have a lot more in common than the retail up-front model or even the regular subscription model.”

“It’s not buying a box, putting it on the shelf and playing it, but it’s really the time you want to spend – like going to the movies – the time you want to dedicate to spend on it and pay for it,” Reisberger added. “I think the idea of games as a service behind that – that’s what these two models really share.”

Call me old fashioned but, when it comes to comparisons of arcade and free-to-play, I know which style I prefer. Having been schooled on 8-bit consoles, my tolerance for punishment is considerably higher than it is for reward; I’d much prefer to die hundreds of times than grind away to unlock a virtual hat for my troubles. Quite why modern video games insist on rewarding their users every five seconds just for playing the game is beyond me anyway – it’s just so… needy. Perhaps there’s a third way, then, and in the highly unlikely event that any game executives happen to be reading this, here’s an idea for free…

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Mon, Dec 19, 2011
11:06 am
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The Elder Scrolls V: Skyrim Review

Overall Score: 10 out of 10

08 Dec 2011

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Fri, Dec 16, 2011
4:28 pm
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Fri, Dec 16, 2011
3:38 pm
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Fri, Dec 16, 2011
1:14 pm
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To mark GTA III’s tenth anniversary – and to promote the release of GTA III 10 Year Anniversary Edition on iOS and Android devices – Rockstar has been answering fans’ questions on its Newswire and the publisher provided an interesting answer as to why GTA III’s infamous protagonist, Claude remains silent at all times.

“It may now seem obvious that people should all talk in games, but this was not necessarily the case in 2001, certainly not in an open world game,” said a Rockstar rep on the Newswire thread. “We were making up a lot of procedures as we went along, and we decided that the NPCs (Non Playable Characters) should talk and we would have to figure out how to make them talk (using motion captured cutscenes, something that had never really been done before, at least not on the scale we were doing it). So we decided that the game’s protagonist would not talk, partly to aid people identifying with him, but mostly because we had so many other problems to solve and this did not seem like a major issue.”

“We started to discuss introducing a talking lead character when working on Vice City, but it was a lot of work,” the rep continued. “While the structure of GTA3 may seem obvious or natural now, and the use of cutscenes made in the game’s engine that look and feel like the game may seem simple and easy, it really was not the case back in 2001 when we had to figure out all of these things for the first time. Oh and in San Andreas, CJ calls Claude a mute because he does not talk and CJ finds this unnerving.”

Future GTA protagonists, from Tommy Vercetti and Carl Johnson up through Niko Belic, Johnny Klebitz, and Luis Fernando Lopez would all be fully voiced despite Claude’s affliction with the Gordon Freeman syndrome.

There are a load of other interesting answers to fans’ GTA questions over on the thread, including details on Claude’s back-story (or lack thereof), whether [Spoilers!] Claude’s girlfriend Maria gets shot at the end of the game, if Claude is presumed dead now, and about cross-game references to characters across the various GTA games.

Grand Theft Auto III: 10 Year Anniversary Edition is available now over iOS (fourth generation iPod Touch and iPhone devices, as well as iPad 1 2), and compatible Android smartphones/tablets for £2.99. Check out the launch trailer here.

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Fri, Dec 16, 2011
12:15 pm
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The Elder Scrolls V: Skyrim Review

Overall Score: 10 out of 10

08 Dec 2011

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Wed, Dec 14, 2011
11:17 am
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If we were to sum up Kingdoms of Amalur: Reckoning in one word it would be this: Comfy. Like an old jumper, or a tattered pair of woolly socks, Amalur feels warm and familiar. Slipping into its colourful cartoon world – ensconced snugly in well-worn fantasy tropes and straight-laced action-RPG systems – we felt safe, secure. A degree of familiarity was perhaps inevitable given that Amalur’s key creative architects – R.A. Salvatore, Todd McFarlane, and Ken Rolston – are each responsible for such well-known projects in the geek/gamer mind-space. Rolston devised DD supplements before masterminding the gameplay systems of Morrowind and Oblivion, Spawn-creator McFarlane cut his teeth drawing for Marvel and DC comics, and best-selling fantasist Salvatore – who has written 10,000 years of lore for Amalur – is so LARP that he once wrote an entire novel in longhand by candlelight. Consequently, it’s perhaps unsurprising that they’ve built a game on fairly well-established Fantasy RPG foundations; they drew-up those foundations in the first place, after all.

As in our earlier preview, our demo began in the opening section of the game, as a crumbling gnomic stronghold falls in a surprise Tu’atha onslaught. This time we chose to fashion ourselves as a waifish emo lass with a talent for ice magic. While the initial choice of race and divine-benefactor do confer certain class-specific bonuses, the game allows a great deal of flexibility in how you later develop your character; mage, rogue, and warrior skill trees can be traversed at will, and later in the game it becomes possible to reassign points and re-specialise your avatar entirely. Key to this developmental flexibility is the Destiny system: Destinies are essentially perks that augment specific class-combinations, so that mage/warrior/rogue hybrids don’t fall behind pure specialists of a single discipline.  Given the various weapon specialisations available to each class (warriors can be nimble swordsmen, or lumbering hammer-wielding tanks for example), this allows for a large number of varied characters, each with their own distinct approach and feel in combat.

Shortly after the opening section (and just as we were getting into a side-quest involving a mad nun called Zelda, a suspicious priest, and a narcissistic monk who’d dubbed himself Casmaran the Eternal) our character was wrested from our hands, levelled-up via a dev menu, and transported to a much later section of the game at the climax of a battle between the Tu’atha and the elven Alfar. High atop the battlements of a vast grey castle we cast an eye over the seething throng of clashing warriors below. Our character had gained a fire-wreathed fae blade, a pair of lightning-imbued Stormscythe Chakrams, and a whole range of new and devastating mid-level magic attacks. Thanks to the simple control system (one button for primary weapons, another for secondary equipment, hold right trigger for magic) all of these could be combined freely during battle, with advanced juggles and parries activated through accurate timing. We cut a fearsome figure in battle by this point; our advanced hybrid mage/rogue Arcanist Destiny had augmented our dodge with a short-ranged teleport, allowing us to flit in and out of battle while launching barrages of icy missiles at dazzled foes. Arcs of lightning crackled at our fingertips and engulfed whole sorties of Tu’atha aggressors as they scrambled up ladders (which we promptly kicked over to slow their advance). Best of all, the Mark of Flame let us tag multiple enemies with a smouldering flicker, before blasting them all at once in a roaring incendiary explosion.

Our rogueish bent allowed for superior stealth play too. Venturing deeper into the castle we found a group of Alfar soldiers held captive by a Tu’atha platoon – by crouching low and sneaking up slowly, we managed to execute each silently without raising the alarm (this despite some rather grisly stealth execution QTEs). Killing enemies with style fills your Fate Meter, allowing you to enter Reckoning Mode, a turbo-charged state in which you deal massive damage – this proved extremely useful for dispatching the two sub-bosses we encountered: an undead dragon summoned by a powerful mage, and an agile warlock with an enormous Cyclops minion. After a spot of rather incongruous blacksmithing (who really has time to forge an Arctic Longsword of Gluttony in the middle of a siege?) we emerged at the highest point of the castle, ready to do battle with the (now rather lonely) slobbering cyclops, Balor. Balor certainly looked impressive – with spit slathering down his amorphous undulating jowls – but for all the visual spectacle, the fight itself was a rather predictable pattern based affair: dodge as his flabby limbs smash into the ground, hack at them until his head slumps down in exhaustion, stab his eye, rinse and repeat (while dodging the odd laser eye-beam assault, naturally).

Immediately after the battle (and the inevitably brutal QTE dispatch of Balor), an Alfar commander enquired about the fate of a loyal general that had fallen heroically during the turmoil; we denounced her as a coward – claiming the glory for ourselves – and were thereafter hailed as ‘the hero of Mel-Senshir’ by local NPCs (who also berated her lack of valor when prompted). Side-quests in the nearby port-citadel of Mel-Senshir ranged from the quotidian (defeat five warriors in a series of one-on-one battles) to the macabre (confront a malevolent medic that’s been conducting gruesome experiments on her patients), and a brief trip across the sea opened up a whole new coastal environment with its own broad selection of optional quests. It’s clear that there are many distractions off the beaten track in Amalur, and fans of immersive game-worlds will have much to keep them busy (there are even three different types of crafting to master).

While Amalur doesn’t seek to do much that hasn’t been seen before, it’s still shaping up to be a well-executed exploration of familiar Action-RPG themes. Combat is responsive, and the vibrant, colourful environments ensure that Amalur remains a charming place to explore, even after several hours. Enemy animations are particularly fluid and deserving of special mention. We do have some concerns about the depth of the combat over the long term, and there are some potential balancing issues with Reckoning Mode (which seems to make boss fights rather too easy on occasion). Still, perhaps Amalur’s greatest strength is that it manages to make a traditionally obtuse genre remarkably accessible. That it stays so resolutely within the bounds of traditional RPG convention to do so will likely win it fans and detractors in equal measure.

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Tue, Dec 13, 2011
5:00 pm
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Tue, Dec 13, 2011
4:21 pm
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