“In VR, people are more attuned to what sounds feels inside the environment. We cared about creating immersion with a sense of placement in the world.” …
Damien Monnier, who worked on games like The Witcher 3 and Gwent, has left CD Projekt Red to work at another notable Polish game studio. …
The strange plot that brought Desmond to the Animus is concluding in a Titan Comics published series, finally wrapping up the Phoenix Project story. The comic launching in February will tie-in with the other series currently out and feature work from Dan Watters, Alex Paknadel, and Jose Holder.
The story follows Julani Otso Berg, Galina Voronina, Kiyoshi Takakura, Arend Schut as they investigate the Phoenix Project that Desmond was a part of. Fans of the other comics won't be left out, as it also features Charlette De La Cruz and Black Cross.
You can check out the various covers for the first issue below.
The Assassin;s Creed series has gotten almost as many sequels and spin-offs as Kingdom Hearts at this point, so it's hard to take this new branch seriously. At least there's some guy jumping menacingly with an IPad, which means he'll most likely save the day with his ability to stream TV in a comfortable position.
Sega's digital pop star just got a western release date for her new PS4 game. Hatsune Miku: Project Diva Future Tone is coming digitally to the PS4 in North America and Europe on January 10 for $ 53.99.
Future Tone is the comprised of two song packages: Future Sound and Colorful Tone. Future Sound is made up of songs from the Project Diva games. Colorful Tone is composed of Project Mirai games and arcade songs. Each will cost $ 29.99 separately but $ 53.99 together. Future Tone will have 224 songs and more than 340 outfits, making it the biggest Hatsune Miku game yet. It will also have the arcade control scheme, which is slightly different than from the other titles.
For a look at Hatsune Miku: Project Diva X, the previous game, check out our preview here.
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The frequency of these games must please those looking for their Hatsune Miku fix and this latest game looks like a ton of content to satisfy those fans.
Lost Soul Aside is an impressive one-person project from developer Bing Yang. Created in Unreal Engine 4, it takes some visual cues from the Final Fantasy series, though it looks to play more like Devil May Cry. It's gorgeous and looks like a game from a much larger team.
After speaking with a number of developers about turning his passion project commercial, Yang has announced via Twitter the game will be a timed PlayStation 4 exclusive.
So there will be a time exclusive on ps4,and there will be multi weapons, will try to finish the game in 2018, thank you. pic.twitter.com/j8q2dI7Mfx
— 杨冰 (@yagnbing) October 22, 2016
As per the tweet, Yang also mentioned the game will include "multi weapons," (whether that means multiple weapons or weapons that can transform into others like in Bloodborne is unclear), and that he will try to finish the game in 2018. You can watch a trailer for the game below.
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[Source: Bing Yang on Twitter]
Lost Soul Aside is an impressive piece of work, and I'm glad Yang has to opportunity to release it on consoles. Xbox fans will likely not appreciate the news, but securing short-term exclusivity is a sign Sony likes what they've seen of the game, which bodes well for the final project. Lastly, I would take that 2018 time frame with a huge grain of salt.
Blizzard just release the latest expansion to World of Warcraft, titled Legion, and many fans are calling it the best WoW expansion in years. For many fans this is the continuation of an epic journey that has last well over a decade. For WoW's game director Tom Chilton, however, this is actually the beginning of an entirely new adventure.
On a recent blog post, Chilton talked about his long career working on WoW and how, now that Legion is done, he will be moving onto an undisclosed new project. Assistant game director Ion Hazzikostas will be taking his place as game director for World of Warcraft.
"For me, Legion has been more than just another expansion, though—it’s the culmination of more than a decade of work with one of the best development teams I’ve ever had the pleasure to be a part of. And it’s with a mix of excitement, sadness, and gratitude that I’m saying farewell to the WoW team and moving on to a new adventure within Blizzard."
For more on Legion, be sure to watch our two hour livestream archive. Also, find out what Chilton had to say about World of Warcraft II a few year's ago.
Wow, indeed! Chilton has been at the helm of World of Warcraft for a long time, so we can't blame him for wanting to move on. We're itching to know what he's working on, but WoW fans should be excited that they have another mysterious Blizzard project to look forward to.
If there's one political question that's sweeping the nation right now, it's, "When can we play Socks the Cat, the lost Super Nintendo platformer based on Bill and Hillary Clinton's cat?" If this Kickstarter hits its $ 30,000 goal, that question will finally have an answer.
Socks the Cat was an arguably complete SNES game made back in the early 1990s during Bill Clinton's United States presidency. The game went missing after its publisher shut its doors, despite the game being supposedly "finished" and reviewed by some publications.
Then, in 2011, a private collector uploaded footage of the game to YouTube, which caught the eyes of collector, Tom Curtin. He then teamed up with publisher Second Dimension in hopes of releasing the game, hence the Kickstarter. Curtin has assembled a small team that specializes in retro games to clean up the code, squash bugs, and get the game ready for release.
Backer tiers range from the a digital emulated version of Socks the Cat, to new Second Dimension-developed SNES games, to physical Super Nintendo copies, and more.
Second Dimension has also addressed the elephant in the room by giving us Socks the Cat's political beliefs by stating that he can't vote in this upcoming election because, "he's a cat. And he's dead."
[Source: Socks the Cat on KickStarter]
While the timing is incredibly coincidental, reviving a once-dead game is an intriguing proposition. Whether or not the game is any good is another story, but just being able to resurrect a dead game, see it, and maybe play it marks an interesting point in gaming's history.
Gamasutra staffers weigh in on the PS4 Pro and the Xbox Scorpio. Do these souped-up mid-cycle console refreshes foretell a fundamental change in the concept of console cycles? Or… maybe not so much? …
It’s fair to say that Hatsune Miku represents a different branch of the rhythm/music genre than many in North America are accustomed to seeing. Rather than the distinctly American vibe of beat-matching we see in games like Rock Band or Guitar Hero, Hatsune Miku dances and sings her way through poppy numbers wearing over-the-top outfits, representing some of the flamboyant and quirky elements that many players love to see in Japanese gaming. Today sees the release of Hatsune Miku’s newest game, and the trailer below gives you a good sense of what you can expect.
Project Diva X features more than 30 songs, mixing both new and returning tracks for Miku to dance through. This release also includes a Concert Editor that allows players to produce your own shows, with distinct outfits and songs.
Hatsune Miku: Project Diva X has arrived today on PlayStation 4 for $ 49.99, and Vita for $ 39.99.
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Gamescom kicks off today, and we spent time gearing up for the big show chatting with EA executive vice president Patrick Soderlund about a host of topics. You may have already seen that EA has reversed its stance on remasters, and is actively discussing jumping into the fray (possibly with Mass Effect games on the docket). We also discussed the changing face of the console market, fan projects, Mirror's Edge, and major changes to how players will experience the Battlefield franchise.
Having Faith in Mirror's Edge
One of EA's tentpole titles for the year was also one of its riskiest. Mirror's Edge attained cult status last generation with a loyal, vocal fanbase that had been clamoring for more. Depending on who you ask, this year's prequel, Mirror's Edge Catalyst, either sprinted across the rooftops of success or plummeted to the streets below in failure. It was a polarizing game, but Soderlund is still happy with how things turned out.
"For us, if you look now that the game's been out for a while, reflecting on it, I still think it's really good that we decided to build it," he said. "I'm for the most part pleased with the game as it came out. I'm happy that we stayed true to the art direction and kept that, but kind of evolved it so that it looked and felt good. I think the city as it was designed was cool. I think it was a very ambitious project for many reasons. We got criticized a little bit for a weak story. It's difficult to tell a story in any medium. I think we also wanted to make the game open and more free-flowing than the first one was. At any point in time when you make any piece of entertainment, people give feedback and we have to listen. We have to listen to what people liked and what they were not so happy with and things that they outright rejected and learn from that."
Despite the somewhat tepid critical response, it's too early to count Mirror's Edge out. Soderlund says it's far to early to know what will happen to the franchise.
"[Are we] going to build another Mirror's Edge in the future? I don't know yet," he candidly told me. "We are early on in the lifetime of that game. We're going to have to look at this maybe seven or eight months from now with the lens of the brand itself, what fans said, and in my role, overall performance from a financial perspective. We have the responsibility to ourselves and our shareholders. It's a combination of many things. Frankly, I think most importantly it is what's the desire of the game team, and where do they want to take it or do something else. I've done this for so long now that without a passionate game team wanting to build something, you can't get a good product. We have a passionate development team that really wanted to build this. I think they gave it their all. Are there things that we would have done differently or changed? That's always the case."
Where Star Wars Business and Fandom Intersect
Earlier this year, a fan group called Frontwire Games stepped forward with a game similar to Star Wars Battlefront called Galaxy in Turmoil. After going public, the group quickly discovered that deciding to use iconic Star Wars locations and vehicles wasn't as simple has artists putting X-Wings into a game.
Lucasfilm stepped in and informed Frontwire that the nascent studio would not be permitted to use the Star Wars license. The result was that EA took heat for an alleged role in forcing the Galaxy in Turmoil team to move away from AT-ATs and Y-Wings.
The situation is far more complex than that, with EA having paid an undisclosed large sum to Lucasfilm parent Disney for exclusive rights to create core audience games based on Star Wars. While Soderlund had no involvement with the Frontwire situation, he did share his thoughts on fan projects and why this one couldn't continue.
"What I would say is that we've seen back in the day with Battlefield 1942, we had a bunch of mods that truly helped people become aware of Battlefield as a brand and associate a lot of good things with it," he said. "We saw the Desert Combat mod. We saw several World War II and even a World War I mod that we played and enjoyed. The community of people out there that are passionate about adding to something in existence is, in general, a good thing. I see no badness from that. That stems from passion and desire to build."
The difference here is that the fan project wasn't building on Battlefield, Need for Speed, Dragon's Age, or any other wholly owned EA property. It was based on one of the biggest franchises in the world.
"It's a lot easier for us to make decisions for brands that we fully own. When it comes to something as big and well-known as Star Wars, there are so many other parts that come into play," Soderlund explains. "What is considered canon? What can you do within the brand? It becomes very complicated. On top of that, between Disney and EA is a substantial business deal where one partner has paid the other a lot of money to gain exclusivity. Without knowing details of exactly what happened, that's kind of how I look at it in general."
Despite Frontwire having to shift gears and abandon the use of Star Wars assets, Soderlund believes there is an important place in the ecosystem for mods and iterative design. In fact, that is where he got his start.
"I grew up from that myself. We started building mods and ideas based on other games that were in the market," he said. "Battlefield 1942 came about because we were playing a lot of Doom at the time and said, 'This is cool, but wouldn't it be cool if you could be in this first-person view, but outside and in vehicles.' I totally get that, and this passion should not be chilled by any company."
Read on for Soderlund's thoughts on the new PlayStation and Xbox consoles coming soon.