Kanye West is making a video game, a rare Majora's Mask 3DS is destroyed, and GTA V is delayed on PC again!
Join Jess McDonell every weekday for a punchy wrap-up of the biggest news to come out of video games!
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Sarah . I see what you mean... Ronald `s remark is neat, on monday I bought a top of the range Lancia Straton after making $7838 this-last/month and-just over, ten/k lass-month . with-out a doubt this is the nicest-work Ive ever done . I actually started 9-months ago and pretty much immediately startad earning minimum $70... p/h . over here
►►►► http://j.mp/CashMoneyJob
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Some people enjoyed The Order: 1886 -- and while I wouldn't question their enjoyment of the game, I do wonder whether they bought the game themselves, or borrowed it from a friend or relative, or if someone else bought the game for them.
The answer to the question "Is this worth what I spent on it?" is a lot more likely to be "Yes!" if you paid nothing for it.
At $60, the game is worth a full eight-hour day of work at a minimum wage job. Whether or not it is actually worth that amount of money (or time) is completely subjective. A sixty-dollar price tag means roughly three hours and ten minutes at my own job, which isn't much. Yet, 6-10 hours of gameplay isn't quite enough for me -- and more so when "gameplay" consists of so much walking around, watching cut-scenes, examining in-game objects, and quick-time events.
Again, if some people are into that kind of stuff: cool. Whatever. You like it. I don't. And don't feed me the garbage that I "have to play it before I can judge it", because I've played enough games like it. Or, hey: if there's something in The Order that wasn't in L.A. Noire or Resident Evil 4, let me know. I spent plenty of time (50+ hours) with those games, enjoyed them, and felt they concluded well enough before the end credits rolled.
I would say the term "content" could use a bit clearer definition, however. Games I've spent massive amounts of time with (at least 100 hours) include Disgaea, Final Fantasy (NES through PS2 era), Dragon Warrior/Quest series, Dark Souls, Skyrim, Grand Theft Auto (III - V), and Divinity: Original Sin. (There's a handful of other games, as I've been gaming since 1978. Just keeping the list short.) Hell, even the Romance of the Three Kingdoms games on the NES have consumed hundreds of hours of my time.
Saying that all of these titles provided innovations and excellence isn't too much of a stretch. If I ever did get the feeling "Oh, I've done this before" while playing these games, I couldn't necessarily agree that I'd done it better. Not all game companies can do so well, though. Gotta have some great and capable minds at the helm. So I'd say that "content" and "what you do with it" are quite the same, and that some developers just tend to offer a bit more and do it a bit better -- and that little bit can make a huge difference in overall experience.
Earlier today, Riot Games President Marc Merrill issued a formal statement regarding his company's investigations into the "SpectateFaker" Twitch stream, the Azubu DMCA takedown notice that was issued against it, and Merrill's controversial comments on Reddit and Twitter last weekend.
This morning, I sat down with Merrill to discuss that statement, his interactions with the community, and what this means for Riot going forward.
Riot's statement frequently references Sanghyuk "Faker" Lee's personal desire to have the stream removed as a major motivating factor in their decision to issue the DMCA notice. With the only public comment on the issue coming from his team, SK Telecom, I ask Merrill if Riot had spoken to Faker. I also ask if it was necessary for Lee to personally want the stream taken down or if the organization representing him could request the removal on its own.
"I think that Faker, like any amazing pro athlete around the world, is in clearly high demand," he replies, "and our understanding is that he has a really good relationship with SKT. Otherwise, when he was getting crazy offers to go play for different teams around the world, the assumption would be that he would have taken something like that. That being said, I'm personally not super close to the details in terms of how his relationship works."
Speaking further, Merrill likens the scenario to traditional sports, where players don't have the time or interest to navigate all of the business dealings around their career and end up relying on agents or sports clubs to handle such issues for them. He believes that "it would be a situation like the [Patriots] speaking on behalf of Tom Brady."
"...our mutual understanding of this stuff will continue to evolve and become more clear over time as well."
Is SKT setting a precedent? Would the handling of any future requests for a stream takedown of a professional player's gameplay shift to the team organizations, whether it be in North America, Korea, or elsewhere?
"It's a case-by-case basis. I think we're covering new ground here and need to evaluate the types of things that are going to happen and unfold going forward. In the same way that when we originally launched League of Legends we didn't have the Summoner's Code, we expect these types of things to evolve over time as we learn and get more exposure to what types of divisions we're going to encounter."
Regarding guidelines, much of the public discourse around the SpectateFaker stream involved where the line was drawn. Could someone "unlock" the camera from Faker, create a "SpectateFakersOpponents" stream, or even more broadly, could they create a stream that spectated a team of players instead of an individual? How will Riot determine when "harm" is being done, as referenced in their statement?
Merrill admits that it's hard to figure out where the line is; "We think that the SpectateFaker case is above the line whereas SaltyTeemo is below the line. So that gap is the type of situation that I think is where we're all going to have to work together to figure it out. So we expect that our mutual understanding of this stuff will continue to evolve and become more clear over time as well."
He does promise that for anything "precedent setting," Riot will be transparent with the community and open a line of communication.
But for content creators and fans, this still leaves a lot of questions open. Hypothetically, if I want to create an automated Twitch stream that follows different members of Counter Logic Gaming across their matches, how do I know if I would be at risk for receiving a DMCA takedown notice from Riot after launching it?
"One of the things that I think would be great is if people who are working with the API and trying to build great systems on it, reach out to our dev relations team and talk to us. If they say, 'Here's what I'm trying to do, what do you guys think?' I think as we all figure these things out together, it's about dialogue and getting on the same page about the goal: Let's make sure we don't harm the community in any macro sense or a micro sense for an individual."
Riot hopes that by explaining its intent in today's statement, it's helped players and members of the community understand what the general boundaries are. Merrill adds, "If there's a gray area, we can collaborate to figure out what makes sense and what doesn't."
With its statement, Riot has formally acknowledged that Azubu had no valid right to issue the initial DMCA takedown notice. But did it take Riot over two weeks to publicly address its partner's overreach?
"Our goal is to nurture this positive and engaging global community"
Merrill explains that Riot "needed to look into it and double-check our facts." Now that they have, he feels comfortable clarifying its position, which is, "If there are going to be any takedowns, they will be from us."
Our conversation then turns to the individual that started it all: StarlordLucian, the SpectateFaker stream administrator. I'm curious if Merrill or Riot have reached out to him directly yet. "Our only communication currently has been through Twitter and/or Reddit. I would love to in the future, but we haven't done that yet."
Finally, we arrive at a more personal subject: Merrill's controversial and emotional comments the weekend before. Riot is no stranger to events unfolding in an unpredictable way that leads passionate fans to intense discussion. Why did this moment in particular spark such an immediate and unrestrained reaction?
Merrill describes his initial reaction upon becoming aware of the situation: "My mind instantly went to 'Oh my God! Precedent!' and we're theoretically entering this new gray area where a bunch of bad situations might manifest. The worst case scenario for me would be that Riot wouldn't stake the type of position where we can protect players in the way that we always care about doing. Our goal is to nurture this positive and engaging global community through esports and all those different dimensions. Everything that we've done has always been consistent with that, we think. And if there's ever something that isn't right, then we quickly adjust course, apologize, and try to evolve. We're going to continue doing that going forward."
The emotional reaction, Merrill attributes, to a personal sense of desire to help the disenfranchised. He recounts several life events where he was angered or frustrated by an individual or a group being mistreated. "That's why I was emotional in the reactions and what I clearly screwed up was, I muddied the message because of the emotion. I was meant to just talk about the case and the principles, but then I ended up doing some things which came across as attacking an individual which was definitely not my intention at all."
Merrill explains that while he was very active in the community in the early days of Riot, that involvement has dropped off as the company has scaled. He hopes that both he and CEO Brandon "Ryze" Beck can work to improve their personal relationship with the community so that players have better context and understanding when they make personal statements. "At the end of the day, the reason Riot is the way it is from a lot of dimensions is because we don't see ourselves as above the community, we see ourselves as a part of it. Sometimes we forget that we could be perceived as these dudes that have this powerful voice, because we don't see ourselves that way."
He explains that he never wanted players thinking his comments were an official statement from Riot. "What I was trying to do was say that we're going to look into this and come out with something. I'm concerned."
Ultimately, Merrill does not feel discouraged by the harsh feedback from the community, "A lot of the comments are really well-deserved. I botched a lot of the intent through bad, reactive messaging, so I don't blame the community for anything. We've been in their shoes many times and been pissed at online game companies that are doing things that we perceive to not make sense. The comments sting, of course, but I think it's the case where it motivates us to get more involved. If there was more of a relationship there, like there has been in years past, this type of stuff would be easier to reconcile."
Battlefield Hardline's visual direction is aiming for "heightened, dramatic realism," creative director Ian Milham wrote in a post today on the publisher's official site. "We're not worried about authenticity so much as believability."
The look is meant to help sell the fact that the game is set in the real world. "Everyone's detector is finely honed for the real world. If it's not believable, it's immediately noticeable compared to what you can get away with in a fantasy or sci-fi environment."
For inspiration, the team pulled from the simple, saturated look of many Michael Mann films, specifically Heat, Collateral, Thief, and Miami Vice. Ian hopes that the focus on visual presentation will help tell stories and sell some of that plausibility.
"For instance, on 'Bank Job' you can see how the first criminal team must've gone into the bank before the round starts, with the blown open doors in the front providing a distraction, and the strike team eliminating guards in the back. We also put in all the culture and signage around the world to help it feel like a real place and not just a 'multiplayer map.'"
Hardline launches March 17 for Xbox 360, Xbox One, PlayStation 3, PlayStation 4, and PC. You can see more of the game in the images below.
@Gelugon_baat The idea of seeing your production line from a central base was fairly common; (I believe) it was introduced Dune. The main difference with Homeworld is that the central base itself is a character.
Aside from an 3d graphics overhaul, Gearbox improved the interface; it's much better now and also features scaling, which is great for people such as myself with poor eye-sight on a HD-TV; which makes reading text very difficult.
The main issue I see with Gearbox now (since they done a stunning job) is the future of the franchise. Will it become a console FPS? Will future sequels be designed with console in mind? Spammed with DLC? Selling packs of units?
All this horrible crap is common now: expected.
Sony's PlayStation 4 has had a strong start in 2015 and impressive sales numbers overall. But while the Xbox One picked up during the tail end of 2014, data from research company SuperDataResearch shows that the PS4 is still coming out on top in terms of digital game sales.
Looking at digital sales for the top 10 best-selling games of January (listed below) the PS4 and PS3 accounted for 43% and 20% respectively of total purchases. By comparison, Microsoft's Xbox 360 and Xbox One consoles totaled just 37% altogether.
It's worth pointing out, again, that the data doesn't take into account all digital sales data, only the top 10 games. Data for PC, Nintendo consoles, and mobile was not included in this study.
According to SuperData, the top 10 digital games for January 2015 were:
That contrasts with physical retail data from the NPD for January 2015 where Dying Light came out as the number one game. Collectively, digital game sales accounted for $133 million in revenue according to SuperData. These figures were pulled from from spending data for 37 million customers and include both full game downloads and DLC. Physical retail games according to the NPD generated $235 million.
Capcom has issued an apology to users who purchased a PC version of Resident Evil: Revelations 2 for the lack of an offline co-operative mode.
Posting on the Resident Evil: Revelations 2 Steam page, the publisher explained that the feature "wasn't intended for this version and that caveat was mistakenly omitted from the product description on the Steam page earlier, and then included as soon as we were made aware. This was an unintentional error and again, we apologize for the confusion this may have caused."
Capcom assured that it was investigating the matter and "potential solutions," saying it hoped to bring out updates "very soon." This suggests that Capcom may not be end up implementing a split-screen co-op mode, but another alternative gameplay mode.
Offline co-op was initially advertised as a feature in Resident Evil: Revelations 2 on its Steam store page. The description of the game stated that players will be able to "overcome the nightmares in either single player mode with an AI partner or offline co-op." According to Capcom, offline co-op was removed to ensure more stable user experiences across different PC settings.
The first episode of Resident Evil Revelations 2 launched earlier this week, with the remaining three episodes to be released over the coming month. Check out how it scored in GameSpot's review.
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The PC version of the recently released Resident Evil: Revelations 2 will not include an offline cooperative mode despite that feature being listed on the game's Steam store page earlier, publisher Capcom has confirmed.
At the time of writing, the description of features in the game still says that players will be able to "overcome the nightmares in either single player mode with an AI partner or offline co-op," but also says at the bottom of the page that the "PC version does not support offline co-op play in the Campaign or Raid Mode."
"The decision to prioritise a single local screen was made to ensure a stable user experience across a variety of different PC settings and devices," Capcom said in a statement. "Raid mode will support online co-op shortly after launch when a free patch is available for players to download which adds this feature, but the main campaign on PC will only be available to play in single local screen."
Revelations 2, which was released yesterday, is comprised of four episodes, with one being released each week until March 17. In addition to PC, the game is out on PlayStation 3, PlayStation 4, Xbox One, Xbox 360, and Vita.
For more on the game, check out GameSpot's review of Resident Evil:Revelations 2.
Nvidia apologise for false advertising, an insider thinks a new PS4 system update is coming, and the Destiny PS4 Share Play drama thickens!
Join Jess McDonell every weekday for a punchy wrap-up of the biggest news to come out of video games!
Schedule: weekly
Host: Jess McDonell
Crew: Edmond Tran
@rebfaction The entire QTE concept is regressive crap.
The best games allow players to determine their own course of action, to create (or at least influence) events instead of merely reacting to them. That's the whole point of "interactive entertainment": it's not a movie or book or song where you simply absorb what is handed to you. Hell, even movies and books allow people to jump to individual scenes and chapters; likewise, albums and playlists let you skip to certain songs. That's more options than QTEs give.
QTEs aren't much more than "Okay, you're in this situation, so press this button. Hurry! ...Okay, good. Now here's another situation. Press the button quickly again!"
That's "Dragon's Lair" gameplay --- and Dragon's Lair was great when it came out.... in 1983, no less. 32 years ago.
It's 2015 now, and games should allow players the freedom of choosing their own strategies; if a player plans poorly or has poor technique, then let them fail. If a player is crafty and skilled, let them succeed. Merely testing a player's reflexes in a "Simon Says" fashion is an archaic form of gameplay.
Even decent games with QTE (such as Heavy Rain & God of War, as mentioned by Ovirew below) are PS2-era games. It is therefore not surprising when players complain about QTEs in newer "next-gen" games.
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The premiere episode of Resident Evil: Revelations 2 kicks things off in a decent way, but it's also an inconsistent experience that's plagued by issues during the first half of the game. Dialogue is poorly written, and you feel like a chump when you tackle yet another fetch quest disguised as a puzzle. However, there are moments that leave you on edge, and the mysteries keep piling up until the very end, stoking your curiosity to want to know more. If you tend to loathe action sequences in Resident Evil games, you may be put off to know there are a few in Revelations 2, but rest assured they're delivered with tact this time, sandwiched between foreboding moments of tension that set your pulse racing before you're thrown into the fray.
Though Revelations 2 starts with a whimper, at least it doesn't waste any time getting you into the game. Right as they were starting to enjoy a swanky company party, Resident Evil hall-of-famer Claire Redfield, and her co-worker, young Moira Burton, are kidnapped at gunpoint and shipped off to a wretched penal colony on a remote island. The game begins when Claire awakens in a damp cell, and the mystery kicks off when the door opens moments later, seemingly on its own. Their imprisonment is clearly the work of someone who fancies control as they're taunted over the PA system by a mysterious overseer. She speaks in very vague terms, introducing more questions than answers. By and large, Revelations 2 likes to keep you guessing.
It's about to get ugly. Moira's father, the ever memorable Barry Burton from the original Resident Evil, attempts to come to Moira and Claire's rescue. With the help of a young companion, the mysterious Natalia, he searches the same prison, but the enemies he faces are quite different, acting more like classic zombies as they shuffle along, rather than the speedy juggernauts that hunt Claire and Moira. This setup affords you two points of view within the same nightmare, and slightly different gameplay experiences, but not all things are created equal. Barry's act is far stronger than Claire's, not only because it offers the best moments of tension, but because his companion is a far better compliment than Moira ever is to Claire.
Working in tandem is at the heart of everything you do in Revelations 2, for better and for worse. You can switch between your two characters on the fly, and sometimes you must in order to solve simple environmental puzzles. Moira's flashlight may uncover a hidden item that you need to proceed, and Natalia can go places that Barry can't thanks to her small stature.
Unfortunately for Claire, Moira's not much use outside of a few strict scenarios that call upon her unique abilities. She looks capable of manning a gun, but a tragic event from her past conveniently prevents her from doing so here. She comes in handy when she pries open a rare door or blinds an occasional enemy, but she's otherwise dead weight and a near constant source of bad dialog as she spouts vulgarity after vulgarity. It's not hard to take in because it's offensive; it's obvious that she's meant to sound young and brash. However, she comes off as an exaggerated caricature that sticks out like a sore thumb.
You can always count on Clair to say what we're all thinking. Outside of a few important plot points, the only helpful thing Moira brings to the table is a flashlight, but Natalia has a subtle personality that comes across as a breath of fresh air and she's far more useful during tense situations. She can sneak by enemies undetected and crawl into tight spaces. If Barry is low on health, Natalia is a solid backup, trading head-on action for simple but effective stealth. Though she lacks the firepower, Natalia proves to be even more useful than her caretaker at times, so long as she remains undetected by the bad guys.
Natalia and Barry's stint is the best source of tension in the game by a long shot. For the most part, Claire and Moira are stuck inside their prison, which is predictable and boring. On the contrary, Barry and Natalia spend a lot of time outside, and in the middle of the night, with only a few light sources off in the distance, a sense of dread creeps in when you wander into the unknown. Natalia is the best candidate for the job given her ability to spot enemies from a distance, but you always know in the back of your mind that she's practically incapable of defending herself apart from throwing a brick at an enemy, yet there you are, meters deep into a dark forest teeming with horrific abominations that want nothing more than to eat you alive. When an enemy takes multiple rounds from a gun to stagger, a brick offers little solace.
You can tackle the campaign via local co-op with a friend if you're so inclined, but your teammate has to come to terms with the fact that they're playing second fiddle. Teaming up is an effective means of getting through the campaign quickly because you aren't reliant on AI to watch your back, and you have the ability to multitask, but the split screen view and real world chatter can dilute the tension. If you're looking to get scared, playing solo is the only way to go.
There are a few puzzles to solve during each scenario that are reminiscent of classic Resident Evil moments, but instead of having to consider all of your options and search for a solution, it's given to you in the form of a simple task. Ultimately, these moments feel like chores rather than puzzle solving opportunities. Moira's asked to point a flashlight around a room to find a key, for example, testing your patience rather than your intellect. If anything, these quandaries feel like justifications for having a sidekick. Perhaps it's good that it's not as obtuse as some games in the series' past, but the formula has been simplified too much for its own good.
If you find your trigger finger itching after beating the first episode, you can hop into the optional and oddly enjoyable raid mode. This arcade-like experience pits you against small armies of enemies in various environments from this and future episodes, and you're encouraged to take advantage of your firepower. The more enemies you kill and the more efficient you are at doing so, the better rewards you receive, often in the form of additional weapons. It's a very different experience than the main game, especially with it's initially jarring dance soundtrack, but it's a fun diversion that gives you plenty to do once the rather short campaign comes to an end.
Though you have to wade through mediocre puzzles and endure cringe-worthy dialogue and references to past games, episode one successfully entices you to look forward to the next episode. Just before you feel like its antics are wearing you down, it commands your attention by redeeming itself during the second half, just before sealing the deal with an impactful cliffhanger. With tastes of both classic and modern Resident Evil, Revelations 2 has something for everyone, but it would be served better if it was a little more focused and had a little less Moira.
I had such drama, 4 times in fact. But it wasn't tragic, it was a bug by Monolith in Shadow of Mordor that corrupted and erased all my saves repeatedly.
First I lost over 70 hours of Shadow of Mordor saves.
Then I lost about 10 hours when I restarted.
Then 3. And then about 10 again.
I had to download saves of other people (hate to do that honestly -hopefully I downloaded a non-virus file), somewhere in the 30% and start from there. My first 70 hour playthrough had clearly the best runes, and I was never able to recover the same runes and never enjoyed the game the same way.
I searched for a solution for many weeks, turns out that only a few days ago - with the last patch of SoM, the developers have finally decided to fix it.
The issue was that changing graphics settings and testing with a benchmark would have erased your save instantly without warning.
Sucks. About time they fixed that, but it was a bug too big to be fixed that late!
Some say that there is no such thing as love at first sight--that initial attraction and infatuation appeal only to our aesthetic pleasures, and that true love only rises when passion no longer clouds our judgment. Romantics and idealists may dismiss the notion, but the deep-rooted frustrations of Aaru's Awakening may drive them to reconsider their sentiment. This unusual game craves your affection, each of its radiant hand-drawn environments singing love songs until you're entranced. You may initially fall for this superficial beauty, but the game soon reveals its true form as a vindictive suitor, grossly untrustworthy in its controls and devoid of the fundamental assets of any good platformer. I am sorry, Aaru's Awakening, but I must cut this relationship short, and I am afraid it's not me: it's you.
I offer no insight into Aaru Awakening's actual development process, but it's easy to assume that visuals were prized over all other elements. Even the hub from which you access the game's levels is ravishing. It exquisitely represents the passage of time from dawn to night, each quadrant of a central orb depicting an abstract landscape that looks drawn by colored pencil. Within the side-scrolling stages, cross-hatching and asymmetrical markings provide texture and depth, while moving elements like lava floes and falling rocks are drawn frame by frame. It is through these techniques that Aaru's world comes to life underneath its unnatural magenta skies.
What a phenemonal-looking boss. What a tedious level. The playable hero is Dawn's champion Aaru, a bearlike creature with a mane that stretches from head to tail, and he, too, moves with a charming hand-drawn inelegance that befits his illustrated world. Alas, the gracelessness of movement that makes Aaru initially joyous to watch in action becomes the game's most prominent failing. When a platformer requires finesse and quick response, as Aaru's Awakening frequently does, fluid animations and controls are vital. Aaru is anything but fluid, however, changing positions mid-air with all the precision of a sloth that has been dropped from a fourth-floor window. Aaru would be a delightful hero in a meandering adventure, but Super Meat Boy he is most certainly not.
As if to make up for his lack of leaping prowess, Aaru can rush ahead in a single whoosh, and can also propel an orb from his body that he can teleport to--and it is around these two mechanics that most of Aaru's Awakening's maddening puzzles are formulated. Navigating the game's spaces is a trial in and of itself, due to a wholesale absence of genre basics--the kind of basics we take for granted in the best platformers because of their ubiquity and necessity. We expect to be able to quickly identify what objects are collidable and which are background art, for instance, particularly when we need to make snap mid-air decisions. Here, the foreground and background blend with the gameplay layer. Is that branch sticking outwards a platform, or just a visual detail? Will I pass in front of that barrier, or will I collide? That Aaru's Awakening requires you to even ask such a question rather than for you to immediately know is a colossal problem.
The writing is lovely, but the narrator slurs her words in odd ways. Without the fundamentals in place, any cleverness apparent in Aaru's Awakening's platforming challenges dissipate. What the challenges may even be is often a secret until you are dropping from a great height when the platform beneath you crumbles, or when a ramp has propelled you forward. You may not be able to tell whether you will fall to safety, or impale yourself on a bed of spiked rocks, until gravity makes the decision for you and the spikes rise into view, too late for you to do anything but succumb to death. Now you know for the next time--but when you bear the burden of this game's inconsistent movement and clumsy animations, it's difficult to build enthusiasm for a next time. And that's an issue: Aaru's Awakening is, by design, a trial-and-error platformer in which you shave off as many seconds from your completion time as possible. Your reward for success is the chance to show off your skill on the game's online leaderboards. I might have enjoyed chasing the competition had the challenge been to overcome tricky puzzles and perform perilous leaps, rather than to wrestle with my controller.
Putting down the controller is an option, though it's natural to reach for a gamepad when playing a platformer. Aaru's Awakening's controller support is not ideal, however, assigning the default jump move to an analog stick rather than a button. You must also activate the controller in the menus before you can use it, and should you unplug it during play, the game may stop responding to any input, even if you plug the controller back in. Regardless of your control method, the maddening levels may drive you to smash your hardware. The Dusk boss fight, for instance, requires that you rush across a series of platforms, some of which crumble, and some of which drop and then rise towards the spiked ceiling. You must teleport into the globes that float in this stage as well as avoid the poisonous river that waits for you at the bottom of the screen. Aaru's awkwardness turns what might have been an exciting sequence into a mess, during which you must perfectly execute your dashes and perfectly aim your teleport orbs at the proper angle within unimaginably narrow time gaps. There's no fun in the trying, and thus no fun in the succeeding.
Yet Aaru's Awakening hints at fun. You fire your teleport orb past a beam of scorching light, teleport again by angling your orb into a thin, winding passage, and an arcing ramp flings you into the sky. What a rush this moment is--a rush then halted when you land in the pool of lava that didn't appear until you were six inches above it. You destroy a hideous colossal housefly by teleporting inside of it--what a fantastic idea!--only to drown moments later because you must blindly teleport, not knowing what you might find until you've closed the deal. Aaru's Awakening is a dreamy display of artistic imagination that yanks you back to waking life with every awkward leap and every ill-conceived level.
Bungie.net and Destiny will be offline for a few hours tomorrow for maintenance, Bungie has announced on Twitter. The maintenance being carried out will be server-side and gameplay will not be affected.
Bungie also confirmed that update 1.1.1 will still be implemented this month. The patch will introduce compulsory match-making to weekly heroic strikes, removing the ability for players to solo them. This will affect all levels of the Weekly Heroic, though Nightfall will remain unaffected. Matchmaking has yet to be implemented for Raids, which Bungie says are more reliant on "groups of communicative players who are invested in each other."
Other changes which are part of patch 1.1.1 include a fix to the heavy ammo bug, balance fixes to weapons, and the ability to view a player's in-game reputation with faction vendors.
Destiny's next downloadable content pack will launch sometime in the second quarter of this year, and is called House of Wolves. Bungie has said it won't make the same mistakes in this DLC, with plans to improve the progression system.
Dragon Ball XenoVerse kaioken attacks on to multiple platforms at Australian retailers this week. The game will launch on PlayStation 3, PlayStation 4, Xbox 360, and Xbox One on February 26. A PC version will be released on February 27.
Xenoverse was originally scheduled to launch earlier, but according to publisher Bandai Namco the game was delayed to "ensure the highest possible gameplay experience" for players. Xenoverse is developed by Dimps, who also worked on the Dragon Ball Z: Budokai series and co-developed Street Fighter IV. Xenoverse will feature a custom character creator, with players able to choose from a variety of races including Saiyans, Namekians, Earthlings, and Majins.
The story in Xenoverse centres on that of a malevolent force who is messing with time, changing the outcome of events in the past. With the help of Trunks, the player must step into the series' history and correct the timeline back to what it originally was.
If you prefer to go further back in time, Dynasty Warriors 8 Empires will launch for Xbox One and PlayStation 4 this week. The game will feature 83 warriors to choose from and new customisation options, should you want to create your own original warrior.
For those who haven't picked up Dying Light digitally, the game is available at retailers this week. An open-world survival game, Dying Light contains elements of parkour and is set in a zombie-infested city. The game was praised in GameSpot's review for its movement and combat, but criticized for poorly designed missions. For more details on games out this week, check the list below.
February 24, 2015
Dynasty Warriors 8 Empires (PS4, Xbox One)
February 25, 2015
Under Night In-Birth EXE: Late (PS3)
February 26, 2015
Dragon Ball XenoVerse (PS4, PS3, Xbox One, Xbox 360)
February 27, 2015
Dying Light (PS4, Xbox One, PC)
European Ship Simulator (PC)
Developer Team Ninja has issued warnings via Twitter for a game-breaking bug in the recently released Dead or Alive 5 Last Round. The bug in question occurs in Tutorial Mode Lesson 40.8 and 40.9, where it freezes the game and corrupts save data.
The issue affects the German, Spanish, French, and Italian versions of the game. The Japanese, English, traditional Chinese, and Korean versions of the game remain unaffected. The developer apologised and stated that it was trying to "fix it ASAP."
Dead or Alive 5 Last Round was released for Xbox One, PlayStation 4, Xbox 360, and PlayStation 3 in North America on February 17, and Europe on February 20. The PC version was delayed to March 30, but won't include online multiplayer at launch. For more on the game, check out GameSpot's previous coverage of Dead or Alive 5 Last Round.
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@karkar88 You do realize that it doesn't work that way right? $73mil for a AAA game is cheap these days. Really cheap. Most AAA games these days cost a lot more than that. Albeit, a ton of the funding in other AAA games goes into marketing alone. Which Star Citizen managed to avoid by using community word of mouth, but AAA game development often costs far more than what Star Citizen is currently making (such as Destiny's $500mil or GTA5's $265mil). That's why I find it hilarious when some nay sayers on here yell it will fail because of it now having a $70mil budget (claiming that's too much money), then go and preorder Destiny, GTA5, AC Unity etc. Which all had budgets that are 3, 4, 5, 6 times the budget Star Citizen has. GTA5, of which, being the only success, with the others sparking community rage at their failures.
Which leads to the inevitable question. So it's not OK for big publishers to fail at making AAA games, but for crowdfunded indies, they're demise is rooted for? We complain about game innovation stagnation, the same games constantly be regurgitated over and over and over again (COD), but then root for the failure of an Indie company trying to bring something new to the table? Are you serious? What sense does that make? Some people just don't have common sense or just enjoy their lives as walking contradictions.
I'm not telling you to buy Star Citizen. Hell, I'm not even telling you to support Star Citizen. All I'm asking is to be a little more realistic about Star Citizens current budget when compared to the current industry and to not root for it's demise out of some foolish urge to be a tr0ll. Star Citizen has easily been the most transparent crowdfunded project I've ever seen. They've had small delays, but actually have been producing tangible results. And the quality of the work they've released so far has been top notch. And because of this exceptionally high level of transparency, I am satisfied that they've been using the funds for the development of the game, rather than just sitting on it getting personally rich. That's a lot more than I can say about any other crowdfunded game I've seen so far. Although Kerbal SP ranks pretty high up there (even though they're not technically crowdfunded). I have some complaints regarding the pricing of Star Citizen's ships (way too expensive), but that's crowdfunding. I don't have to buy the ships, just like you don't have to buy the game until it comes out or if you want to at all. But rooting for it's demise for no reason other than for your own personal chuckles is just downright uncalled for.
Blizzard recently previewed what we can expect to see in the next patch for Diablo III. With that update nearing release on public testing servers, the company is now getting out ahead of some discoveries players could make--namely, the addition of microtransactions for non-American and European regions.
Knowing that data mining invariably reveals features that are being worked on, Blizzard has published a list on its forums with some new features that are buried in the patch's files. However, it makes it clear these new feature "will not apply to all regions," meaning that microtransactions are something that are only intended for players in other markets.
The list of features that "will not apply" to the Americas or Europe:
Thankfully, based on what Blizzard offers there, it doesn't sound as if microtransactions would be tied to item drops in any way. Were they to be added, experience boosts, cosmetic changes, and additional stash space sound like relatively inoffensive ways of working in microtransactions, particularly to someone like me who can't help but hoard items.
If the thought of microtransactions in the game does worry you--and considering how the auction house was handled prior to its shutdown, no one could blame you--there's little reason to fret, at least right now. "We recognize that many players have expressed an interest in microtransactions being added to Diablo III," Blizzard says. "While we may explore this model in some regions, we have no immediate plans to implement such purchases anytime soon for the Americas region." A matching statement on the European forum says the same for that region.
As for what you can count on seeing in the upcoming 2.2.0 patch in the Americas and Europe, check out our full rundown.
Microsoft has released a new Killer Instinct trailer showing off Aganos, the sixth character joining Season 2 of the fighting game. As usual, the trailer ended with a tease for the next fighter that will join the game, who Microsoft is tentatively calling "Ghost Girl."
The mysterious character wields a curved sword, is dressed in a kimono, and looks a lot like an "onryo," a type of ghost from Japanese folklore that you might recognize from the original versions of horror movies The Ring or The Grudge. Over at the official Killer Instinct forums, Microsoft said that the character died 465 years ago, and that she's a new addition to the lore, not a returning character.
The most recent update from Microsoft also details changes to the game's leveling system, hints at future characters, and reveals new costumes.
Killer Instinct shipped on the same day as the Xbox One launch, with Jago available to play for free. Players could unlock other characters and items by paying a fee.
Killer Instinct developer Double Helix was acquired by Amazon last year, casting doubt on continued support for the Xbox One fighter. Microsoft claimed the game would not be affected and said that the franchise, which it owns and is now being developed by Iron Galaxy, would continue on.
Ex-Battlefield 3 lead designer David Goldfarb has said that the development process for big-budget games restricts creativity.
"I think the risk/reward for the companies that can spend the marketing money and that have big successful franchises, for them it's still worth laying out that investment," Goldfarb told Gameindustry.biz in an interview. "But for people who don't have that kind of capital, you're not really in a practical success loop. AAA is the equivalent of the One Percent right now. It comes with all these caveats. You can't make the crazy stuff really."
This isn't the first time Goldfarb shared this opinion about AAA game development. Last summer, after leaving his position at Payday developer Overkill Software, Goldfarb said that he's "abandoning AAA," for the same reason.
Other notable developers have also criticized AAA development lately. Last year, creative director of Just Cause 3 developer Avalanche Studios said that AAA development is unhealthy and unprofitable. Even Metal Gear Solid developer Hideo Kojima shared Goldfarb's sentiment last year, saying that it's hard to maintain creative freedom when working on such a large scale.
"I do think there's a spot between the $100-$200 million dollar AAA games and the $1 million indie games that is not being adequately explored," Goldfarb said. "To me that's a really rich field to plow and you can do awesome stuff there."
Earlier this week, Goldfarb announced a new, Stockholm-based, four-person studio called The Outsiders. The company's first project is an untitled role-playing game that is aiming to launch for PC and possibly other systems later.
Sadly, so far all we have is this tiny picture of it, but a new, custom Battlefield Hardline-themed Xbox One has appeared on Microsoft's website (via NeoGAF).
It looks like the "extremely rare" Xbox One will be available only through a sweepstakes in Microsoft's Bing Rewards program. To enter, you'll have to create an account if you don't already have one, and spend points you earn by using Microsoft's search engine to enter a chance to win.
The custom Xbox One comes with a copy of Battlefield Hardline, a 12-month EA Access subscription, and without a Kinect.
This sweepstakes ends on February 26 at 9:00 AM ET and winners will be announced on March 17. You can find out more about the sweepstakes and its official rules here.
Battlefield Hardline's release date is March 17 in the US and March 20 in the UK on Xbox 360, Xbox One, PlayStation 3, PlayStation 4, and PC. For more on the game, check out GameSpot's previous coverage.
A New York-based museum that houses the National Toy Hall of Fame has revealed plans to launch the World Video Game Hall of Fame. This new hall, based in the Strong "National Museum of Play", will pay tribute to the best games across console, computer, arcade, handheld, and mobile platforms. Anyone can nominate a game for inclusion, the museum said, and votes for the inaugural class will be accepted until the end of March. Nominations can be submitted here,
Once the votes have been counted, a panel of experts will deliberate on which games should qualify for the first wave of inductees. Games will be evaluated on "icon-status, longevity, geographical reach and the influence it has had on the design of other games, entertainment, popular culture and society in general."
So which games deserve their spot in the first wave of inductees? GameSpot's editorial and video teams have searched their hearts and minds to present to you their top nominees.
N64. Developed by Nintendo EAD. 1996. Mario 64 Review
If innovation was narrowly defined by who crossed the line first, then this nomination would probably belong to Alpha Waves. But while that long-forgotten Atari ST relic showed that platformers were theoretically workable in 3D, Super Mario 64 is a timeless and treasured celebration of how the genre works best in the third dimension.
"A timeless and treasured celebration of how the genre works best in the third dimension"
That is a staggering achievement in itself. Nintendo tore down its platformer formula--something which it had more-or-less perfected by the early nineties--and rebuilt it with a completely new perspective in mind. Not "new" as in the next cat gif you'll come across, but "new" as one would describe tumbling into the forth dimension.
A spate of casually introduced yet remarkable innovations (free camera controls, analogue-stick parkour, open-world playgrounds) ensured that navigating 3D was as obvious as running from left to right; a degree of simplicity that allowed the intoxicating bliss of Mario games to shine through.
- Rob Crossley, @rob_crossley_
N64. Developed by Rare. 1997. GoldenEye review
GoldenEye 007 most definitely belongs in the World Video Game Hall of Fame. The Rare-developed game was instrumental in popularizing the console FPS, laying the groundwork for Halo and Call of Duty to become household names. It also had a great, globe-trotting and gadget-filled campaign that was faithful to its source material.
"What I enjoyed so much about GoldenEye 007, and what I believe to be its most meaningful contribution to games, was its split-screen multiplayer mode"
But what I enjoyed so much about GoldenEye 007, and what I believe to be its most meaningful contribution to games, was its split-screen multiplayer mode. I'd never played anything like it before. And the many different rule variations--golden gun, free-for-all, choppers only--made the experience frenzied, frenetic, and fun every time.
- Eddie Makuch, @EddieMakuch
SNES. Developed by Square. 1996. Final Fantasy VI Review (GBA Edition)
Final Fantasy VI represents a high point in the Final Fantasy franchise's classic era. It's the perfect meld of meaningful mechanics and heartfelt story, making it a role-playing game worth sinking 60+ hours into.
"A perfect storm of engaging narrative and intriguing characters wrapped in a classic-style turned-based combat system and a beautiful world"
It's also memorable. You remember Shadow and Interceptor and their familial relationship with Rem, you remember Locke's cocksure attitude, you remember the Opera, and Ultros, and Kefka. Kefka's laugh.
It was a perfect storm of engaging narrative and intriguing characters wrapped in a classic-style turned-based combat system and a beautiful world. The world felt lived-in and loved, and you couldn't help but love it too.
- Alexa Ray Corriea, @AlexaRayC
Xbox 360, PS3, Wii. Developed by Harmonix. 2010. Rock Band 3 Review
Do you remember the first time you picked up a plastic guitar? The buttons were in weird places, and the motion of strumming a paddle in time with colored gems on the screen was far more difficult than you thought it would be. This is not the kind of game your body was used to.
But whenever you successfully hit a string of gems, a majestic guitar melody would play. A melody that corresponded to your synchronized, rhythmic movements. If you stopped, the music would stop. "Whoa," your brain said. "I am making this music. I am playing guitar."
"The rhythm game genre's time in the spotlight may be over for now, but Rock Band 3 represents its pinnacle."
You'd learn to play more complex songs. You'd move onto the drums, keyboard, and even try to sing. You'd gain a deep appreciation for some of the greatest music of the 20th century. You'd recruit people for your band, and even your non-gamer friends and family would bug you to play. You were performing amazing music together, and the polygonal crowd would cheer you on as you succeeded. This felt awesome.
The rhythm game genre's time in the spotlight may be over (for now at least), but Rock Band 3 represents its pinnacle, a quality package of memorable, empowering experiences. An all-time classic record that makes you smile every time you put it on.
- Edmond Tran, @EdmondTran
PlayStation 3. Developed by Thatgamecompany. 2012. Journey Review.
A master class in storytelling through interactivity, colored by the era of connectivity. Journey is a simple tale told not through primary narrative delivery methods--cutscenes, spoken dialogue, or text--but through the simple and joyous act of moving through its world.
"Powerful in ways that only an interactive medium create"
Danger and stress are communicated directly through the minimalist mechanics, with the joy of performing your floaty jump ripped from you as you encounter enemies and take damage. The game's minimalist approach continues in its multiplayer connectivity; your world is randomly and seamlessly populated by one other player, with communication methods limited to a melodic cry that could signal danger, elation, or even frustration.
That you come to feel such a strong bond with this anonymous individual by the time your journeys end is powerful in ways that only an interactive medium create.
- Dan Hindes, @dhindes
Super Nintendo. Developed by APE and Hal Labratory. 1995.
You begin Earthbound by exploring a fallen meteorite, being told by a bee from the future that that you're prophesied to save the world, and then setting out to explore your town with nothing but a broken baseball bat. Then things get weird.
"The simple, cartoon art style ensures that it looks just as good today as it did 20 years ago."
But it's not just Earthbound's quirky, light-hearted plot that make it such an important piece of gaming history. Like all of the recommendations on this list, it's how deftly it marries every facet of storytelling to make an experience that's more than just a really great role-playing game. Earthbound is touching and memorable in the same way that any great film, novel, or piece of music is.
The simple, cartoon art ensures that it looks just as good today as it did 20 years ago. The music evokes themes of Americana and pop culture, but warped and made fresh through unfamiliar arrangements. And the game mechanics, though their core is the same RPG system that many games used before and since, still feel original and exciting.
If nothing else, it says something that for a game that Nintendo mostly ignored in the West until very recently, devoted fans have put together their own convention to honor the game.
- Justin Haywald, @justinhaywald
PC. Developed by Id Software. 1993. Doom review.
When id Software first released Doom in 1993, it created a craze of interest in the first-person shooter genre that would remain formidable to this day. Indeed, for several years after the game's release, FPS games were simply referred to as "Doom clones."
"For several years after the game's release, FPS games were simply referred to as 'Doom clones'"
The game's graphics, level of action, and explicit violence changed the industry's landscape and pushed the envelope to show how immersive and interactive games could be. Doom established how shooters would play out for years to come. The game's co-operative and deathmatch features popularized multiplayer gaming over a local area network, introducing deathmatches to a mainstream audience. In addition, Doom supported custom user-made content, which spawned a strong modding community. And some of those early creators went on to become respectable game developers in their own right.
Few games changed video games the way Doom did, and the series continues today. An upcoming reboot is being published by Bethesda Software and scheduled to launch on the Xbox One, PlayStation 4, and PC.
- Zorine Te, @ztharli
N64. Developed by Nintendo EAD. 1998. Zelda Ocarina of Time Review
The Legend of Zelda charmed us from the beginning with cave-exploring, enemy-killing, and treasure chest-opening goodness, but with Ocarina of Time we could to do it all in 3D. Link's grand adventure to fulfill the Hero of Time prophecy is one of the ultimate video game hero fantasies, with humble beginnings that quickly escalates into an epic journey as the baddies get badder, and Hyrule's fate rests in Link's hands.
"This is one of gaming's all-time quintessential hero narratives"
Ocarina of Time took the themes already established by the series and carried them over to its vast open world with stellar graphics, and an atmospheric soundtrack. You could ride a horse across Hyrule Field as the sun set and feel more immersed than ever in the enticing, vibrant game world, whether you were felling towering monsters, or simply returning stray chickens to their coop. This is one of gaming's all-time quintessential hero narratives, and it is entirely deserving of a spot in the Video Game Hall of Fame.
- Jess McDonell, @JessMcDonell
Arcade. Developed by Tomohiro Nishikado. 1978.
Arcades weren't novel when Space Invaders was released in 1978, but they would never be the same thereafter. Taito's vertical shooter took Japan by storm, leading to Space Invaders dedicated arcades and a rumored nationwide shortage of 100 yen coins.
"It's single-handedly responsible for popularizing arcades in Japan"
It's single-handedly responsible for popularizing arcades in Japan, which still command lots of attention and money from Japanese gamers. Space Invaders looks simple now--it's still a challenging and engaging experience, despite its age--but it was a marvel in its day. It set the foundation for an entire genre, and was the first arcade game to record high scores, something leaderboard chasers of today can appreciate.
As arcades became more popular, thanks to the catalytic impact of Space Invaders, the hardware inside of them blossomed at a rapid pace. During the '80s and '90s, console developers tried their best to replicate the arcade experience at home, and this techno-chase fueled console hardware and software development up until 3D games became the norm. It's safe to say that without Space Invaders, arcades may have been a much smaller industry in Japan. If Japan didn't patronize arcades, companies like Capcom may have never had the justification to develop Street Fighter. Though it was released 37 years ago, Space Invaders' impact can still be seen today, even if arcade machines can't.
- Peter Brown, @PCBrown
BBC Micro, et al. Developed by David Braben and Ian Bell. 1984.
This space exploration masterpiece not only awoke an interest in computer-gaming amongst an entire generation of kids, turning school computer rooms into lunchtime hives of smuggling, docking, trading and shooting, it also pioneered many of the traits we see in videogames today.
"Its technical innovations are numerous, from pioneering 3D visuals to the procedurally generated world"
Its technical innovations are numerous, from pioneering 3D visuals to the procedurally generated world, but it's in its approach to narrative and storytelling where Elite really endures. Completely open-ended gameplay that single-handedly drove forward what we now think of as immersive storytelling, creating an open-ended space adventure that was unique for every player.
Whether you were a smuggler, trader or straight-up weaponised space pirate, it set the benchmark for the possibilities of narrative in games, infinite stories that could be shared and told across the playground, and despite being over 30 years old, adventures that vividly linger in the memory even to this day.
- Ben Howard, @mondoben
Electronika 60. Developed by Alexey Pajitnov. 1984.
In 1984 programmer Alexey Pajitnov made a simple yet addictive electronic game in which players could arrange puzzle pieces in real time as they dropped from a ceiling at increasing speeds.
The game was ported and bundled with the original Game Boy, beginning its reign as a beloved global phenomenon that has since sold well over 125 million copies. Tetris has become the generation spanning go-to game for computers, mobile devices, TI-80 calculators and old and new consoles alike.
"Tetris has become the generation spanning go-to game for computers, mobile devices, TI-80 calculators and old and new consoles alike."
Tetris had such an impact on the world that it evolved out of its 2D, 10x20 pixel LED display and into pop culture; making appearances in cult classic movies such as Office Space and in popular shows including The Simpsons and Futurama. We've seen reflections of the game in interactive public art displays, re-enacted with real life objects in film, and in a permanent functional arcade display in New York City's Museum of Modern Art.
Those seven distinctive geometric shapes even find themselves in our daily lives when we're packing large amounts of luggage into the backseat of our cars. Tetris, without a doubt, deserves a spot in the video game hall of fame because it rotated and placed its way perfectly in our hearts.
- Mary Kish, @merrykish
Xbox. Developed by Bungie. 2001. Halo Review.
You think Xbox, you think Halo. Yet Halo: Combat Evolved doesn't deserve a nomination for being an Xbox exclusive, but for paving the path for all console shooters.
"The game revolutionized the console shooter, utilizing the controller to its fullest"
Halo: CE brought everything. Engaging sci-fi story backed up with an expansive universe, iconic protagonist, breathtaking visual design, and one of the most powerful musical scores known in gaming.
The game revolutionized the console shooter, utilizing the controller to its fullest. Buttons devoted to melee and grenade sped up combat and two weapon slots. And the game introduced an innovative rechargeable shield/health mechanic, which is present in practically all modern shooters now. It opened doors for the tactician that favors timing over aiming.
Halo fans lugged TVs and Xboxes to garages without hesitation. Intense 16-player LAN parties flourished in that year prior to Xbox Live; Halo CE spawned the birth and saw the demise of a gaming era. Halo CE doesn't rest on top of the console FPS genre; it hovers.
- Rob Handlery, @roberthandlery
PC. Developed by Valve Software. 2004. Half-Life 2 Review
While hype and hysteria tend to be measured by Internet noise, Half-Life 3's appeal is uniquely defined by the anguished silence it carries. More than ten years since the release of Half-Life 2, it simply hurts too much to talk about its sequel.
The culprit for such unusual desire is a first-person shooter, released in 2004, which delivered a spectacular harmony of everything Westerners crave in modern action games.
"A spectacular harmony of everything westerners crave about modern action games"
Half-Life 2's beautifully observed dystopia, and the narrative threaded through it, was only made possible by a rare accord between its writing, characters, voice acting, and pioneering animation techniques.
As much as it delivered heart-pounding action sequences, along with an exhilarating game of cat-and-mouse against its alien foes, Half-Life 2 is perhaps best remembered for those unforgettable moments of freezing on the spot gazing up in awe.
- Rob Crossley, @rob_crossley_
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Cam undertakes the mother of all console war experiments: Can people REALLY tell the difference between PS4, XONE and PC based on graphics alone? Link to vote on the clips - tinyurl.com/RCGFXTEST Link to download the video file - tinyurl.com/RCGFXBLOG
Trevor Williams, a 24-year-old Smash player, discovered an exploit that could have some far-reaching implications for the Super Smash Bros. for Wii U tournament scene. "PikAmp," as he calls the , is tough to trigger, but when done properly, can make one of the game's least-used characters, Captain Olimar, an unstoppable killing machine.
Another Smash player on the Smashboards forum described how to use the exploit:
Step 1. Throw Pikmin, preferably onto someone, or make sure the reflector is in between you and Pikmin (in this case, make sure they can walk to the reflector).
Step 2. Have player 2 reflect it so the Pikmin touches the reflector by walking by, or latching.
Step 3. Using the Order Tackle custom move, bring the Pikmin back. If they are done at the right timing, you can get almost 100% on your opponent.
Step 4. Note this Pikmin. it is now busted until it dies, is thrown, or used in a smash attack.
Completing these steps give Olimar several Pikmin that he can trow to instantly kill any other fighter. Earlier this week Williams posted a YouTube video demonstrating the technique, and its discovery has left some professional players upset. Because Smash Bros. aims for both casual and competitive players, it has a lot of options and rules to modify and toggle for those looking to make matches more or less balanced.
Since release, tournament organizers have been sifting through some of the new rules to figure out which ones would be okay to use in competitive matches. One of the more controversial options is "Custom Moves." When turned on, it lets players swap out special techniques for any of Smash Bros.' four dozen characters. While it has taken some time, the professional community has generally come to accept customizing character attacks.
That acceptance, however, has been tenuous. And there's fear that discovering this kind of exploit – one that makes one character essentially unstoppable – could herald a stream of exploits yet to be discovered. With Nintendo announcing that they won't be doing any more "balance" patches, this is something Smash Bros. might be stuck with – severely limiting its potential for play future tournaments.
While the GameCube's Super Smash Bros. Melee has been a consistent part of the fighting game scene for almost 15 years, its sequel, Brawl, was largely left out of competitive play. Brawl introduced mechanics like tripping that fans were not fond of. Smash Bros. for Wii U and 3DS has faced some skepticism from fans, with a lot of debate surrounding which events will host the game and how tournament organizers will establish standardized rules. Smash Wii U has generally favorable reception from the competitive community, but this exploit could hamper that.
"PikAmp," may simply be the first of many problems yet to be discovered. If there are more some in the community may continue to demand banning certain features or rules. If that happens too often, then its entirely possible that the competitive community will settle back into melee instead of staying with the Smash Bros. for Wii U.
Forums for Smash players like Smashboards and the Smash subreddit have been buzzing with players complaining about what this could mean for tournaments, asking for bans on certain rules that make the exploit easier or that Nintendo patch the bug out entirely. We reached out to Nintendo for comment, but at time of writing they have not responded.
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Twitch streamer 0xa101 (Adrian) finished the GameCube version of Animal Crossing in 70 hours, 51 minutes. While the run was anything but speedy, it is the fastest time anyone's managed to complete the game while following community-set speed run rules.
While many players have finished the game in far less time – one in just 37 minutes – that's only to pay off all debts. What makes this run special is that it's the first 100% completion. To qualify, players not only have to pay off all debts, but also collect every item in the game, and fill the museum by finding every piece of art as well as every kind of fish, fossil and insect.
According to the rules, the timer for the run can't be paused. Adrian stopped playing close to the end of her run for an eight hour nap, but aside from that she played for nearly three days straight.
At time of writing, Adrian is the only person listed under the 100% completion tab for Animal Crossing on speedrun.com.
