Our first look at InXile and Bethesda’s co-op-focussed attempt to rejuvenate the traditional dungeon crawler.
‘Gears of Dragon Age’. ‘Army of Two Worlds’. A couple of phrases you may see floating around in connection with Hunted: The Demon’s Forge, an original third-person action-RPG unveiled to the public today for PC, PlayStation 3 and Xbox 360. VideoGamesDaily was on the guestlist for the press reveal last month, and while those off-the-cuff comparisons carry a certain weight, we found there was more to the new game than first met the eye.
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Third Echelon’s old posterboy goes in search of retribution. Our hands-on with Ubisoft’s fifth Splinter Cell.
Splinter Cell: Conviction has the mother of all tutorials. Or rather, father. Scuttling from over-turned table to over-turned table in a Maltese marketplace, following the ear-mic directions of old comrade Anna Grimsdóttír, the lately out-of-retirement Sam Fisher reacquaints himself with some basic stealth dynamics by way of flashbacks to his infant daughter’s bedside.
Darkness, the grizzled assassin explains to sleep-deprived Sarah, has its uses. Not wishing to give his offspring night terrors for life, he doesn’t go into much detail, but veteran Splinters will be well attuned to the violent current beneath these paternal reassurances. That undercurrent soon bubbles to the surface, as you road-test the new ‘Mark and Execute’ mechanic mid-flashback on three unfortunate housebreakers, queuing up headshots with right bumper and loosing the rounds in a split-second with Y.
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“Systemic” AI allows for easy mode creation.
Remember when Ubisoft’s Patrick Redding told you that Splinter Cell: Conviction would last 12-16 hours? Well, he was lying. Or rather, he was only referring to the single player campaign and co-op modes.
Factor in Deniable Ops, the competitive multiplayer mode, and according to Creative Director Maxime Beland the figure is twice or thrice Redding’s estimate.
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Creative Director Maxime Beland on Denzel Washington, the problem of cut scenes, transplantable AI, platform exclusivity and much, much more.
The story of Splinter Cell: Conviction, so far? It goes something like this: ‘Now you see Sam, now you don’t, now you see him – crikey, he’s got a beard, what gives, Ubisoft? And why’s there so much daylight? Oh, now he’s gone again. Oh, there he is. Yay, he’s had a shave. Gosh, he just smashed that man’s face into a toilet.’ Sort of like Jack Bauer doing a pantomime, then.
Last month VGD slipped on some PVC pants, screwed three Magilites to its forehead and skulked down to south London to interview Maxime Beland, Creative Director on Sam Fisher’s much-delayed, grim-faced return to the world of gaming. Set your jaw and read on.
VideoGamesDaily: Conviction has had quite a troubled development period. We hear earlier builds were scrapped because it was felt the game was becoming too similar to Assassin’s Creed. Is that a worry now? What did you change, in particular?
Maxime Beland: It was actually never a worry, that it was too much like Assassin’s Creed. The stress and the reason why we changed was because it didn’t feel like a Splinter Cell game anymore. So many things had changed – there were no gadgets, there were no lights and shadows, there were no athletic moves – a lot of the core values that Splinter Cell depends on.
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It’s all happening down in the Archives…
If his games were any more 8-bit you’d have to blow on the disc before putting it into the Wii. We talk pixels and punks with Suda51.
The creative force behind Grasshopper’s eclectic output, Goichi Suda enjoys a huge reputation outside of Japan and the reasons are many – not least the fact that he appears to be a thoroughly amiable chap.
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How big is big enough? Our verdict on the face-melting conclusion (or is it?) to the God of War trilogy.
At the heart of any consideration of God of War 3 lies the hoariest of debates, a dispute as gnarled and fissured as a Titan’s fingernail, as intense as the flames of Tartarus, yet as monotonous as the River Styx. If you’ve played the demo, you probably have an inkling already. I’m talking about our old friend “innovation versus refinement”. Giant conceptual leaps versus deft baby steps. New stuff versus not so new stuff.
The third God of War is as far to the right-hand side of the equation as you can get. It looks big, talks big, wears big, meaty shoulder guards a-drip with gore and shaders, stalks cavernous, creatively lit environments murdering enormous, billion-polygon enemies, but its technical and cinematic accomplishments are essentially sleight of hand. And the conjuring trick is getting old.
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We delve deep into the psyche of Remedy’s Oskari Häkkinen in the hope of uncovering some thrilling new details regarding a certain troubled author.
Shrouded in mystery for over half a decade, Remedy’s psychological thriller wears its influences on its sleeve – the troubled writer seeking inspiration in a mountainside retreat, the unexplained threat of a mysterious foggy presence wrapped up in tight episodic content, the use of a flashlight to exploit your enemy’s weakness.
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Samus gets all maternal in the most unconventional Metroid to date.
Lengthy CGI cutscenes? A broody, brooding protagonist? Surly space marine ex-boyfriends? This certainly isn’t your father’s Metroid. Not that any of this should be a surprise from a developer like Team Ninja, the somewhat unlikely current custodians of Samus Aran. Yet an hour or so with Other M suggests the franchise is in safe and capable hands.
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Edwin reacts badly to the announcement of yet another sandy-gritty shooty-bang-bang squad-prodder. SOCOM? More like SUCK-OM. (Don’t worry, it gets better.)
If you were paying close attention to the internet last night, you might have noticed an explosion of silence, a colossal wave of nothingness that swept from one corner of the globe to the other. The epicentre of that great non-event was Sony’s announcement of SOCOM 4, an “all-new SOCOM coded from the ground up for PlayStation 3” in which you lead “an elite, five-man squad” armed with the “latest weaponry” into combat with an “army of rebel fighters” in the midst of “inhospitable jungles, crumbling city streets and urban ruins”. We think we’ve seen this movie before. The black dude dies, right?
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Steel yourself for our hard-hitting hands-on with Ubisoft’s second Wii swordfighting game.
Ubisoft’s Red Steel 2 lacks a certain something. What is it now? Oh yes. Fear. Self-doubt. The insecurity you’d expect from the successor to an underwhelming launch title, the confidence issues that ought to attend on flying the flag (once again) for grown-up, growly, hardcore-leaning action gaming on the Wii.
You could write a book (or at least a couple of paragraphs) on the things Red Steel 2 isn’t afraid of. Crates, for starters. This game doesn’t care that you’ve bisected, blasted and high-kicked enough cuboid storage units to fill that warehouse at the end of Raiders of the Lost Ark. It doesn’t care that you were precision-popping oil barrels to incinerate nearby enemies from your third birthday onwards. Both cliches are here in abundance. Red Steel 2 never tires of them, nor of the twinkling coins and juicy MGS-ish ammo packs they invariably contain.
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We visit Liverpool, European capital of culture 2008, to take Bizarre Creations’ social (and anti-social) racer for a spin.
Few companies can claim such domination of the Xbox driving landscape. In pole position at the birth of Xbox Live and responsible for one of the few games to demonstrate the power of the 360 at launch, Bizarre Creations are synonymous with being there first and doing things right.
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“More than just a sequel”, or more of the same? VideoGamesDaily goes hands-on with Mario’s latest adventure.
It’s hard to imagine any game featuring a gigantic bowl of water suspended in space as having “conservative” level design, but that’s exactly what Shigeru Miyamoto thought of the original Super Mario Galaxy. It shouldn’t come as a surprise then, that its follow-up – lest we forget, the first 3D Mario game to appear on the same console as its predecessor – frequently enters the realms of the utterly impossible.
The handful of levels made available to journalists at Nintendo’s European media summit felt at once warmly familiar, yet thrillingly new. Mario Galaxy 2 might not be “more than just a sequel”, as Nintendo would have it, but it expands on ideas touched upon in the original in deliciously inventive new ways.
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The ‘biggest question’ is who would play Sam Fisher.
Ubisoft’s future, it tells us, is in media ‘convergence’, in migrating top-selling game franchises to non-gaming platforms. The publisher has made determined inroads on home film and cinema in the past couple of years, opening a dedicated CGI studio in Canada and sinking its fingers deep into James Cameron’s wondrous, 3D-flavoured, Avatar-shaped pie (with mixed results, admittedly).
Small wonder, then, that Splinter Cell: Conviction’s Creative Director Maxime Beland is very receptive to the idea of a Splinter Cell movie.
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If there’s one thing more exciting than re-murdering armies of the undead, it’s creating new ones and having them do your bidding, right? Well…
It has been said that if you laid all the ninjas and dynasties slayed in the extensive back-catalogue of hack and slash super-studio Tecmo-Koei head to toe, they would loop the world all the way from Neo Tokyo to the Great Wall several hundred times over.
At least it has now. In such capable hands you might expect the introduction of a new IP that marries the slicing and dicing of a K-T game with the real-time character management of Pikmin or Overlord to be an exciting prospect.
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LucasArts Producer Jake Neri talks to us about technical hurdles, language barriers and introducing Star Wars fans to the MMO.
A not very long time ago in a conference chamber not very far away we had the opportunity to chat with Jake Neri, Producer with LucasArts on Star Wars: The Old Republic, the hotly anticipated BioWare-developed PC MMO. Here are the results. For maximum impact, print the article onto cellophane and move it slowly past eye-level whilst staring at a map of the constellations.
VGD: You have an incredible amount of spoken dialogue in this game, and in three languages to boot! Can you talk me through how you’ve pulled that off?
Jake Neri: Well we’re still in the middle of developing that. It’s a tremendous effort, we have a huge team collaborating on that both at LucasArts and at BioWare studios in Austin and Edmonton are working on that project. It is a massive undertaking, but the pay-off for the player is really huge, and I think that was something that we decided early on – when we wanted to go to full-voice, we wanted to make sure we could do that in all the key languages, to reach as many as people as possible. We’re trying to create a world phenomenon with the game, we don’t think we can do that unless you can hear it in the language which you speak.
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But wouldn’t be a “natural fit” for Project Natal at present.
Creative director Jason VandenBerghe talks Project Natal, Sony’s wand, mature gaming on the Wii and cutting the grass in Zelda.
Three and a half years into the Wii’s career, developers remain strangely reluctant to put the motion controller to what is surely its highest and noblest purpose: swatting lumps of pixel-gore out of gung-ho NPCs with four or five feet of chilly, computerised steel. There’s been the odd, clumsy stab in this direction at intervals, with No More Heroes perhaps the most notable contribution, but Wii operators as a bunch seem more interested in the entertainment possibilities of turning door handles, pointing torches at things, playing the sci-fi version of Operation! and, needless to say, shooting stuff.
We can attribute some of this disinterest to the less-than-surgical sensitivity of the Wii remote itself, in its original, out-of-the-box form. What serious attempts at samurai thwacking the platform can boast – Ubisoft’s Red Steel, for example – are to scientific swordsmanship what a food blender is to Antoine Carême, furious masturbatory gestures carrying the day against more calculating swipes and parries.
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Epic, five page marathon chat with EA producer on appeasing the hardcore, obligatory logins, dumping Gamespy, the joy of Halo Wars and where the RTS will go next.
Depending on who you read, real-time strategy is dead, dying or cuddled up in a leather armchair somewhere polishing its war medals and writing angry letters to the local gazette. The genre needs a shot in the arm, and what better franchise to wield the syringe than Command & Conquer, one of the oldest and most successful of top-down tank molesters. At a recent EA showcase, we caught up with Raj Joshi, producer on Command & Conquer 4: Tiberian Twilight, for his thoughts on base-building, the competition and whether you really can squeeze the full range of options into an Xbox 360 controller.
VideoGamesDaily: Hello Raj, thanks for chatting with us. Do you think this kind of preview event does justice to a game, particularly an RTS title like this one? You don’t really get to experience the feature set in full…
Raj Joshi: I think it works pretty good, getting everybody together for the first time for a hands on on multiplayer, getting into a match and seeing how it comes alive dynamically with many people. We’ve been doing hands-on one-on-one through the single player campaign, and I think that although single player’s very important for Command and Conquer because a lot of people try to do that, I think our game really shines when you have five team-mates, you get to see the three different classes in action and work together with people.
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EA producer feels Ensemble Studios worked well within the limitations of console play.
Come now, O ghost of Ensemble Studios. Why so serious? Sure, Microsoft might have nailed you into an early coffin mere hours after your last game left the press, but Halo Wars is proving quite the source of inspiration among RTS developers with one eye on the console market.
Take Raj Joshi, producer on EA’s Command & Conquer 4: Tiberian Twilight. Chewing the fat with VideoGamesDaily in a soon-to-be-published interview, Joshi expressed admiration for Ensemble’s “digestible”, pad-friendly design.
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But “not a casual game by any stretch of the imagination”.
Sega attempt to ape their past success on a new piece of hardware. Can they return balance to the precariously positioned series?
A decade on from Super Monkey Ball’s arcade debut, and if the countless sequels and spin-offs have taught fans of simians in spheres anything, it is this – the original concept was a master stroke of design genius that required no modification.
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The Silent Hill: Shattered Memories team talk genre reinvention.
Survival horror, it’s generally accepted, has fallen on hard times. The progress of the Resident Evil franchise perhaps typifies what Destructoid’s Jim Sterling terms “evolution into extinction”: the last numbered iteration was an action game in all but heritage, preferring pad-mashing brutality to ammo-deprived suspense, laser sights to locked doors, turrets to tenterhooks.
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Down where it’s wetter, still where it’s better… Rupert gives the verdict on the Xbox 360 version of 2K Marin’s return to Rapture.
As a rabidly hardcore fan of the original game, I feel almost duty bound to dislike BioShock 2. In about as much need of a sequel as the Mona Lisa, Ken Levine’s original creative work was a stunningly complete vision, telling a perfectly orchestrated tale of the rise and fall of one of gaming’s most memorable locations. The prospect of a purely commercially-driven sequel drew understandably hushed accusations of cashing in and selling out. Yet as hard as I’ve tried, BioShock 2 is simply too good a game to dislike.
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Wakey wakey, it’s almost release day.
Silent Hill: Shattered Memories “wouldn’t exist if it wasn’t for the Wii”.
Avaunt, heretical hardware! A mockery thou dost make of Real Man’s Gaming, oh dastardly Wii, with thine skimpy processors and feminine branding. But wait, what’s this? Apparently we have you to thank for one of the better “hardcore” remakes of recent years.
Sam Barlow, Lead Designer on the warmly received Silent Hill: Shattered Memories, has told VGD that the game wouldn’t have made it past the pitching phase if it weren’t for Nintendo’s underpowered box of tricks.
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The floodgates are open. VideoGamesDaily spends a rainy day in with Quantic Dream’s masterful PS3 debut.
“How far will you go to save someone you love?” is the tagline, but the question Heavy Rain really asks is “what is a game, exactly, and how far can you push it before it becomes something else?” While all developers tackle this question to a certain extent, reshaping the concept in the act of creating an individual specimen, few have posed it as explicitly and doggedly as David Cage and Quantic Dream.
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The Ghosts are back, and they’ve got new threads.
Hands-on with Capcom’s third and possibly greatest full Monster Hunter sequel, followed by extensive chat with Capcom UK’s Leo Tan.
Picture the scene. A busy conference chamber in Kensington, London. Four HDTVs glare from an island in the centre of the room. At three of the four sit Monster Hunter veterans, unmistakeable in their branded gear, vaguely goth hairdos and businesslike demeanours. Their thumbs are a blur, their eyes narrowed in concentration. Astonishing feats of valor unfold on-screen, balletic rolls and perfectly timed, boulder-rupturing sword swipes, again and again.
At the remaining TV sits a journalist. Or rather, five journalists, each fighting for a clear view. While the other players remain monkishly calm, the journalists are shouting at one another. They are shouting things like “It’s behind you!” and “No, you can only do that with your weapon sheathed,” and “Hit him with a broom! Hit him with a broom!” and “Quick, try it on that herbivore!” And they are getting their arses well and truly kicked.
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And why do you think it’s getting panned? An open letter to the role-playing gamer community.
Level 5′s epic but underwhelming PS3 role-playing game could have rocked our worlds. Edwin investigates the game’s undelivered promise.
I can recall the moment I decided to buy a PlayStation 3 pretty clearly: it was immediately after watching the first trailer for Level 5′s White Knight Chronicles. Everything about the gameplay depicted – that visceral combo system, the cliched but vibrant character designs, the apparent presence of such exciting new features as enemy morale, or WWF-style team moves – set my thumbs a-twitching.
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“It’s more about things in the right place.”
War never changes. Nor do taglines.
Go To Hell… or just straight to the bargain bin? We get down with the Devil on PS3.
I’d love to have been in the boardroom on that sweaty, dead-end day in 2007 when one of Visceral’s moneymen threw his arms up petulantly, crossed his legs, uncrossed them, took a deep breath and said: “Look, why don’t we just make God of War III. With a different name, obviously. Yeah, Bob, I know Sony have green-lighted God of War III already. So we’ll just launch our version a few months before theirs. Bam. Back of the net.”
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Red sky at night, Shepard’s delight?
The original Mass Effect saw BioWare ambitiously attempting to fuse their exemplary story telling abilities with the visceral combat of the cover shooter – a genre still in its infancy back in 2007. Freed from the shackles of the Star Wars licence, BioWare produced an exceptionally rich galaxy filled with danger, discovery and intrigue, setting new standards for story telling and digital acting.
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PSP’s success is “more about Monster Hunter players than it is PSP players”.
…with actual power-up items!
Rockstar finally lets us clamber into the saddle, but is an embarrassing tumble in store? VideoGamesDaily goes hands-on with three missions from the new frontier of sandbox gaming.
Glance at any PR shot of Red Dead Redemption – aside from the close-ups of TNT stacks exploding, that is, or of Texans ingesting lead through their belly buttons – and you’ll be struck by the desolateness of it all. Hazy plateaus of sand and grass sweep away to splendid but featureless hillsides, stuccoed with cacti and scarred very occasionally by tracks or railroads. Settlements protrude from this landscape like islands at low tide, tumbleweeds nosing their doorsteps. Even the larger fortified townships seem a tad ephemeral, a little insecure.
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Still not experienced Shepard’s last adventure? Power-play the sucker with the aid of the following devilish exploits.
You've only got three days to kick his arse, UK readers.
Fact: you’ll enjoy Mass Effect 2 a lot more if you’ve played Mass Effect 1. Going by early reviews, at least. Reportedly, the brawniest of the game’s strong points is its carrying-over of plot dynamics and characters, filling in the picture between the destruction of the Sovereign and Shepard’s reanimation at the hands of shadowy pro-human organisation Cerberus. New allies (and new enemies) are doing the rounds, but you’ll also reunite with former comrades and adversaries, now scattered across the galaxy, visit familiar locales and find answers to some of the original’s pressing questions.
I don’t know about you, reader, but I don’t intend to start this sequel – perhaps Bioware’s best title to date, and a definite GOTY candidate – on the back foot. LevelSkip’s most advanced survey probes have been trawling the ether, scooping up choice Mass Effect haxploits (“Mass Exploits”?) to hasten your progress to the end credits, and thus to a thoroughly well-informed first playthrough of Mass Effect 2.
Don’t read on if you’re a goody two-shoes, or you’re happy to enjoy Mass Effect’s charms at leisure. Do read on if you’re anxious for a glimpse of Miranda Lawson’s underwear.
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A traipse through some of the industry’s less exalted moments with commentary from leading developers and journalists.
Spring is peeping over the parapet, the days are getting longer and I’m playing Final Fantasy XII again. The game appeared in one of our local charity shops during the Christmas break, and despite having only just cracked the scum on the toxin-rich sinkhole that is Fallout 3, I couldn’t resist. Goodbye sleep, work ethic and social life; a big hello to hunting quests and Queen’s English.
This is gluttony for punishment in more ways than the merely playlength-related. When first I hopped, skipped and Dragoon-jumped into the world of Ivalice back in 2006, I wound up loathing the experience. Briefly put, Final Fantasy XII has one of the most unnecessarily complicated character and gear development systems ever to deprive a weak-willed hack of his precious, precious Zs.
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Can we have Planet Harriers next, please?
Many gamers have fallen head over heels (with guns on them) for Bayonetta, so why do some take umbrage at the new witch in town?
Garnering perfect scores on both sides of the Atlantic, Hideki Kamiya’s 3D action masterpiece has a lot to live up to – after all, since he invented the genre with Capcom’s Devil May Cry, it hasn’t exactly stood still with Ninja Gaiden, Bujingai and God of War all adding to (some may argue bettering) his 2001 blueprint. Unlike many other titles showered with such universal reverence however, Bayonetta is not a game for everyone.
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Japan-only to begin with…
Also shows off tats, car-tyre armor, face paint, binbags.
Does Army of Two: 40th Day make you want to strike up a bromance or is it simply not worth the aggro?
The unfortunate aspect of introducing new IPs as opposed to regurgitating tried and tested formulas is the risk of bringing a crude and unrefined experience to the market. When EA rebranded themselves as a purveyor of new and exciting ventures, we were treated to the likes of Mirror’s Edge, Dead Space and of course Army of Two, and though it is perhaps a stretch to claim Army of Two was original, the new IP did at least attempt to build on the co-op experience laid down by Gears of War.
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If analysts are to be believed, the successor to Nintendo’s wildly popular handheld is just round the corner. Here’s our predicted feature list.
Forget the Wii. Forget the Xbox 360. Forget every other console of this generation. When it comes to raw, unfettered selling power, the DS has no equal. Only Sony’s PS2, with a decade of shelf life under its belt, can best Nintendo’s folding touchy-feely dynamo for boxes shifted.
Racking up 11.2 million sales in North America last year, 3.3 million of them in December alone, the hardware’s latest iterations seem unchallengeable by any but its waggle-tastic living room cousin. Nintendo would be foolish, one might have thought, to announce a successor at this point – and yet according to EEDAR (via GoNintendo), we can expect such an announcement within eight months, while the new console itself is tipped to launch inside of 15.
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Flash-forward to the grim, unholy darkness of a post-Natal world. Possibly.
The date is 10th November 2012, around 10.13 pm, and you’re squatting in your sweaty, lice-infested shithole of an apartment, contemplating the catastrophic facepalm that is your Project Natal unit. There’s no longer sufficient liquid in your body for tears, but you still have breath enough to curse, thank God.
Over the past two gruelling years, this sleek, innocuous-looking, ruinously gimmicky strip of spare parts has destroyed your life, made you the laughing stock of your small, hard-earned circle of gaming buddies, the punchline to every geek joke. It has killed your romantic career, too. Women with no more knowledge of Xbox than a Daily Mail headline shun your presence as they would that of a plague doctor, compelled by some mysterious, unquantifiable sense of dismay and disgust.
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Another mega-bargain in the Game Archives!
Now listed as “TBC” again. D’oh!
If you haven’t already got a copy, now there’s no excuse.
Japan loves its guilty pleasures!
Which titles will this year be remembered for? Edwin drops a few hints.
To think of certain years is to think of certain games. These titles are the lynch pins of entertainment history, speaking to their eras in a manner which makes them unforgettable. So it is that 1997 is the indisputable property of Final Fantasy VII, which put the medium’s capacity for cinematic involvedness beyond question, while to reflect on 2005 is to reflect on the phenomenon of World of Warcraft.
The “definitive” games aren’t always the best ones, of course, or even the best-selling ones. Few “serious” gamers would rank Mario & Sonic at the Olympic Games above Uncharted, but the former is arguably the more crucial release – not simply because it shifted more copies, but because its dominance of software charts is tightly, symbolically bound up with Nintendo’s abrupt re-ascendancy in 2007. And there are games whose significance is negative, the games whose failures (whether partial or complete) herald the end of one way of doing things. Need for Speed: Undercover comes to mind.
Identifying these titles in advance is a little like trying to headshot a machine gunner from the beaches of Allied Assault’s Normandy, but it’s an interesting topic so I’m having a go regardless. Here, then, are six games I think 2010 will be remembered for. You’ll notice a few controversial omissions, some of which are on the longlist at the article finish.
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Warning, may cause trouser explosions.
Multiple tank-deaths and suspiciously few respawns.
Running and gunning, mostly, plus the odd dose of biotic abracadabra.
Stuart takes a walk on the Darkside with an Xbox 360 copy of Vigil’s post-Apocalyptic horseman.
War! (Huh!) What is he good for? According to THQ’s new developer Vigil, he’s good for solving puzzles, riding his rather large horse and showering in gallons and gallons of demon blood. Designed by Marvel’s Uncanny Xmen artist Joe Madureira, War is one quarter of the Four Horsemen of the Apocalypse, charged with judging the Kingdoms of Heaven, Hell and Man when Armageddon occurs. Which is immediately!
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Call it Everybody’s Aquarium.
It’s mainly on the plain.
DQ pilgrims need to arrive in the capital by March 1st…
Nothing cynical here. Move along.
Form into pairs and follow our lead.
“Their tops are made out of rubber, their bottoms are made out of springs…”
Who’s this Leonard Nimoy fellah then?
Welcome to the future of J-pop!
Leaked footage suggests as much.
Complete with buddy-bonding commentary.
We caught up with two of Square Enix’s Final Fantasy veterans to discuss Chocobos, potions and Zombie FPS games.
The Crystal Chronicles series has been placating Nintendo gamers since its 2003 GameCube debut in what was a delicate patching up of differences between Nintendo and the then-named Squaresoft. In the past six years it has found homes across various Nintendo platforms in even more varied guises, from multiplayer action RPG to building sim to tactical strategy game.
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The staff of Video Games Daily complile their ultimate list of the decade’s 65 greatest games. Part 5: Adam.
The staff of Video Games Daily complile their ultimate list of the decade’s 65 greatest games. Part 4: Edwin.
The staff of Video Games Daily complile their ultimate list of the decade’s 65 greatest games. Part 3: Alex.
The staff of Video Games Daily complile their ultimate list of the decade’s 65 greatest games. Part 2: Stuart.
The staff of Video Games Daily complile their ultimate list of the decade’s 65 greatest games. Part 1: Rupert.
The end of 2009 also marks the end of the decade. Compiling a list of the best games from 2000-2009 isn’t a particularly easy task, and everyone’s bound to disagree with parts of it. But we had fun making it, and came up with a final selection of 65 games (or game series), split among five of the Video Games Daily editorial staff. Enjoy!
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Remixed and Auto-Tuned to hell…
Two pints of Yebisu and a packet of Pocky.
Chiptune till the break of dawn!
Two volumes, 36 games, 20,000 yen.
10 million downloads and counting!
NCL more generous to its employees than Japan Railways, Asahi Beer and Toyota…
How much would you pay for a pink wig?
We belly up to the saloon with Rockstar to hear the legend of John Marston.
When Rockstar Games took the reins of Capcom’s wayward Red Dead Revolver back in 2002 it was clear that they could have used more time re-shoeing the title from an awkward Gun Smoke update to a title worthy of the highly respected Rockstar name. While Revolver is by no means worthy of Rockstar’s regret, Red Dead Redemption is a fitting title for an ambitious sequel that already looks set to eclipse its predecessor in every way possible.
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