Doom's demons are what make the series work. Sure, sprinting around a space station with a Super Shotgun in hand is thrilling, but if you don't have interesting targets to blast into a cloud of gore, what's the point? The minions of Hell are what give Doom its spicy, pulse-quickening flavor, with designs that are both threatening and intriguing. You have to remember that, for many gamers, Doom was their first-ever exposure to first-person shooting - and its enemies are what made the experience so profoundly vivifying. As you viciously unload clip after clip into hordes of growling Hellspawn, you're getting a subtle crash course in the core dynamics of the entire FPS genre.

After seeing the recent . And many of those demons stand the test of time, re-emerging in the new Doom with their designs - in both form and function - surprisingly intact. We'll be sure to add more returning enemy types as they surface with fresh Doom details; for now, enjoy this retrospective of Doom's demonic bestiary, from the original games to Doom 64, Doom 3, and the upcoming fourth entry in id's legendary franchise.

These slain-then-reanimated space marines are the perfect introduction to Doom's crusade of carnage; as the very first enemy you encounter, they convey a massive amount of information about this virtual world. Their human frames evoke the Nazis of Wolfenstein 3D, and as with mowing down the SS, their undead status enables guilt-free genocide. But the Zombieman's guttural, beast-like growls and groans of pain are much more alarming than any German exclamations, commanding your attention while still acting as the most minimal, easily handled threat in the game. And seeing them in-fight when one of their ranks engages in friendly fire is utterly mesmerizing (and advantageous).

Doom 3 stumbles because it tries to put more focus on jump-scare-enabling civilian zombies lurching at you from the darkness, instead of the rare undead soldier who can actually shoot back. Turns out, the original Zombieman is the perfect embodiment of a minor, retaliating threat. These grunts are easily killed, but still problematic when ignored. In that regard, the new Doom's design - complete with its 'body horror' arm-cannons - seems like it'll carry the torch of the traditional Zombieman nicely.

The Imp's importance to Doom's fundamentals cannot be overstated. As the second enemy type you encounter after the Zombieman (still in the opening level, mind you), Imps are your first real taste of the supernatural horror that awaits on the rest of Mars. Their spiky bodies and propensity to fling fireballs clearly signal that yes, these are the armies of Hell walking in your presence. And those fireballs are an ingenious teaching method: they force you to learn how to strafe out of harm's way or suffer third-degree burns. Unlike the Zombieman's bullets, Imps' projectiles present visually distinct hazards, which fly just fast enough to test your twitch reflexes without being imperceptible.

Doom 3 tweaks that design slightly, giving Imps the ability to climb along walls, and bolstering their trademark fireball flinging with a pounce attack that's much more aggressive than the original's 'slowly waddle towards you to get within punching range'. The new Doom looks like it'll retain Doom 3's springy, more agile Imp design, acting as a barometer for the player's ability to dodge out of the way of incoming ranged or melee attacks at a moment's notice.

These beasties are actually just 'Demons', but most everyone calls 'em Pinkies - partially because of the pig-like pigmentation of their flesh, but mostly because Pinky is an infinitely more delightful name. Just as Zombiemen and Imps embody invaluable FPS intelligence, the Pinky introduces fledgling players to a new kind of threat: the bullet sponge that rushes in your direction until one of you is dead. One Pinky is reason to be afraid; a pack of them indicates that it's time to either run away or carefully use the environment to funnel them into a manageable procession towards the warm, welcoming barrel of your Super Shotgun.

I guess a bright pink bipedal demon felt too outlandish to be a part of Doom 3, so the classic Pinky got replaced by a four-legged, dog-like meld of demon flesh and robotic hind legs. But id and Bethesda seem to have heard my nightly prayers, having restored my most beloved Hellspawn buddy to his rightful form in the new Doom. Forgive the blurriness of the image - that bad boy only shows up for a fraction of a second in the most recent Doom gameplay trailer - but this is clearly a modernized version of the charming goofiness inherent to the Pinky's original look.

For most people, the sight of a naked, grotesquely obese man with elephant legs is not their idea of a good time. Turns out, it's even worse when they've got two rocket launchers for arms and a limitless supply of ammunition. Fighting the Mancubus is the organic tutorial to the ins and outs of splash damage, given how it fights with - and is easily killed by - rockets. The concept of extra damage invisibly radiating out from a rocket's point of impact is a basic FPS principle we know and love now, but in Doom's day, it was a principle had to be learned.

It becomes apparent - probably after a few instances of kamikaze-esque self-disintegration - that trying to blast a Mancubus with rockets from point-blank will kill the both of you in a hurry. Best to plug its rippling belly with some shotgun or chaingun rounds, saving those rockets for rooms full of lesser enemies. The new Doom gives you another option: set it up for a melee execution with a few potshots, then force-feed it its own explosive heart for gut-busting results.

Fun fact: the original Cacodemon design is heavily based on from a Dungeons and Dragons manual (which I highly doubt id ever paid royalties for). Cacodemons are like Imps on steroids, spewing fireballs at a faster rate and surviving way more punishment. The Cacodemon's cyclopean glowing eye, ominous blue-mouthed grin, and sheer size - often taking up a huge chunk of your screen - can make even the hardiest space marine freeze in terror at first sight. But doing so ensures certain death, so you're forced to adapt. After slaying your first bushel of bulbous Cacodemons, you'll realize that you've been honing the skills needed to down these big red blimps just by mowing down the previous enemy types.

Like the Imp, the Cacodemon's ranged attacks often force you to backpedal while shooting, which becomes an invaluable tactic for any firefight the more you get used to it. But their hovering freedom of movement also trains you to keep your eyes peeled for any overhead threats that could swiftly close the distance on you. The new Doom's slightly smaller Cacodemon appears to patrol the skies in much the same way, and will hopefully cave in and collapse into a pile of intestines upon death (just like the original).

These resilient brutes are available in two flavors: the tan-skinned Hell Knight, or the pink, beefed-up (and doubled-up) Baron of Hell. Either way, you're going to have a tough time dealing with their massive health pools, ranged fireballs (this time in lime green), and devastating wallops up close. Besting them is a matter of preparedness, because if your ammo supply isn't well-stocked when a Hell Knight rolls up, the fight will be over before it's even begun.

The Hell Knight is undoubtedly the most iconic monster in Doom 3 (appearing front and center on the box art), with a muscular, hulking redesign that looks like it could crush the original goat-man sprite with a single swipe. Doom 4 repurposes this design with a cleaner, bone-colored noggin, while maintaining the Herculean physiques. This new breed of Hell Knight seems to have a bigger focus on melee aggression, but granted, that's judging based off a single fight scene (and I definitely spotted up some charged-up energy in its hands at one point).

Revenants are something of an anomaly: an enemy that's just as deadly from afar as it is up close. Those twin shoulder-mounted rockets aren't just for show, and can obliterate your health from long range, but the Revenant will gladly punch you to death if you try for some close-quarters combat. Engaging them can be a frustrating experience at first, as you desperately try to figure out the most effective distance to mount your attack.

Then comes an epiphany, the kind that can only arise from brilliant game design: you need to confuse the Revenant by dancing between its two attack ranges, like a boxer darting away from and into dangerous punches at just the right moment. Of course, you'll need to be fast if you want to survive, because it can easily match your pace with its speedy footwork. And judging by the grisly ending to the fresh Doom gameplay reveal from E3 2015, the Revenant's more than happy to tear off your arms and beat you to death with them. Just something to keep in mind.

If Doom's bestiary is like a lesson plan, then the Cyberdemon is your final exam. This colossal, rocket-armed, cyborg minotaur has it all: the deadly projectiles of the Mancubus, the erratic zig-zaggy movement of a Pinky, the imposing size of two Cacodemons stacked atop one another, the speed of a Revenant, and the immense survivability of a Hell Knight. Oh, and it doesn't take splash damage, so you can just forget about spamming your stash of rockets and calling it a day.

But then, taking down a Cyberdemon should never be easy, given that it's typically been given final boss status throughout the series. It's an iconic-enough enemy to have been the first actual 'thing' revealed for the new Doom, so it'll be interesting to see if it's used sparingly or becomes a more common, less demanding encounter (hopefully the former). Either way, hearing the Cyberdemon's battle-scream in-game is sure to make your teeth grit, fingers sweat, and intestines quiver each and every time.

Games give so many conflicting messages to players. Most want hours and hours of your attentive dedication, then for you to return for DLC, and to never give up on the multiplayer (lest you trade it in). It can be a lot to ask, but many people are more than ready to sacrifice vast chunks of spare time. Which makes it all the more frustrating when a game says "Hey, don't you think you should take a break?" I'll tell you when I've had enough!

But there are a handful of titles that skip the simple guilt trip, and instead express concern over possible addiction by actually rewarding players for NOT playing. These games admirably promote shutting off or logging out from time to time, doling out some kind of tangible bonus for not playing them. If only other worrisome publishers got as proactive as these games...

Note: An earlier version of this article appeared on the site in 2014. This new-and-improved, updated remix near doubles the list of entries, so do give it a look even if you read the original. New stuff is up front, too.

Despite what the crackpot media might have you believe, not all video games are out to get us… just most of them. The rest make do by occupying only a large tract of our time, as opposed to every last drop of it - here's looking at you World of Warcraft and Destiny. Some games, it seems, would rather maintain a clear conscience, a basic responsibility to the health and wellbeing of the player. Sometimes they even express this in the form of an explicit 'go outside already' tip. 'Get some fresh air', they say, 'you're starting to smell'. Bless their swollen hearts.

Though some games go even further than that. Some games actively reward inaction, making not-playing an ironic element of their gameplay. Some games take the design philosophy of 'less is more' to its natural conclusion, interpreting 'less' as 'zero human interaction whatsoever'. Today's thoroughly big list takes a look at 15 such titles - those that effectively reward the player for his or her total inactivity. Sometimes taking your time (or just being flat-out lazy) has its rewards. Enjoy.

Reams and reams have already been written about the absurd fallacies that govern our games - those oddball behaviours and mad practices that seem so wonderfully at home inside of a virtual setting, and yet so massively inappropriate beyond it. Far Cry 4 evidently takes issue with these sorts of unthinking and unrealistic reactions. Case in point - the game's early doings, in which the villainous Pagan Min appears to kidnap protagonist Ajay and stuff him into an easily escaped room. Now, given the man's obvious penchant for violence, as well as his ominous promise to return, it's hardly surprising to find that most gamers quickly attempt to scarper.

But what if you don't run? What if instead of scurrying off to go native and/or ride around on massive murder elephants you simply decide to sit it out and wait? Does Min return, torture tools in hand and ready to rend flesh? Actually no. Instead we're treated to what is perhaps the most realistically dull conclusion of all time. You sit around for 15 minutes, Min duly returns and kindly escorts you to your original destination. Game over. That's it. I guess he's not such a terrible genocidal dictator after all… Just a weird uncle really. Very weird, mind, but still...

From the 'loving mother's school of devastating fight advice', it's Final Fantasy V and the Gogo boss monster - aka the one that you beat by doing nothing precisely nothing. Take that bullies - looks like I'm the bigger man now… on the floor, being kicked. Cheers Mum. You see the thing about Gogo is that he's actually a mimic, meaning that he'll only attack so long as you choose to attack him. Attempt to duke it out and he'll unleash wave after wave of unstoppable carnage, but opt instead to heed his sagely warning - 'to do as he does' - and Gogo will eventually relent, granting you a prize before scampering off elsewhere.

Good thing too, as trying to best old Gogo via conventional means, i.e. - the exact way that anyone would after 30-plus of furious fiend blasting - is considered to be a truly difficult feat. Gogo can annihilate the entire party in just three turns, and must realistically be defeated with the help of a high-level muting buff, lest this monstrous mime work up to his uber destructive meteor attack. The lesson here: Not every boss taunt ought to be ignored.

What better way to mask dark-hearted villainy than with a sweeping sense of whimsy? Disney has been at it for years now... In the case of Jonathon Blow's Braid this diabolical bent extends far beyond the terrible actions of Tim. You see, even the gameplay itself bears something of a sadistic streak. Case in point - level 2-2, or 'the curious case of the cloud that just wouldn't budge'. Well, to be fair, it does actually shift, though at such an imperceptible crawl as to trick most players into ruling it out as an effective means of locomotion. So why exactly would you want to ride such a slowpoke?

Well, as it turns out Blow and co. made it so that this granny-rapid gas ball provides the only means of reaching the game's most maliciously placed star. Now keep in mind that you don't actually need this item at all, though of course there's no accounting for the insatiable appetites of the completionist. All told, the player will need to wait 2 whole hours for this fluffy bugger to reach its destination. To be clear - that's 2 entire hours of your life… in exchange for a pickup that anyone, of any skill level could also achieve… Methinks I smell a trolling.

Everyone loves a dev team with a decent sense of humour, particularly when that team belongs to an oftentimes 'holier than thou' indie scene. "Ya, programming in a start button was just, like waaaay too mainstream". Praise be to the folks at Galactic Café then, whose winning sense of humour even found its way into The Stanley Parable's achievement section. An achievement section that features such noteworthy accolades as 'You can't Jump' - which rewards players for trying anyway, and 'Click on Door 430 Five Times', which err - well, you probably get that one.

Then there's 'Go Outside', an achievement that ensures that even avid gamers get their fair share of fresh air. To earn this trophy, gamers must stop playing the game for an entire 5-years. Play it, log off, and log back in a whopping 1826 days later. What could be simpler? Well, changing your computer's internal clock for one, but that's no fun now is it?

First things first: this particular section of Earthbound has you playing the role of a man named 'Poo'. A man. named. Poo… No, not a sentient slurry, nor a talking number two, but a man… named Poo… Just let that sink in to your mental u-bends for a minute. Giggles all gone? Good. Get everything out of your cistern… damnit, 'system'? Great, then let's continue. You see it seems that good old Poo is trying his damndest to master the art of Mu meditation. To do so he'll need to ignore a series of increasingly tempting visions while doing precisely nothing. Seems simple, though neither the player nor Poo can be quite sure that these tempters aren't actually real people in need.

This all continues until Poo enters a mysterious spirit world, wherein a strange spectre appears to torment him with various threats of mutilation. Hold your nerve and you'll complete your training unharmed. Intervene however, and it's all the way back to square one. Oddly enough, Earthbound actually features a second instance of similar inaction, whereby the player must stand motionless beside a waterfall for a full three minutes. Doing so will eventually unveil a gatekeeper asking the player for a password - or a swift slap to the face, depending on how many times you muck this one up.

Being the wholesome, family-friendly organisation that it is, many of Nintendo's games will occasionally prompt their players to set down their systems, unglue their eyes, and take a refreshing stroll out into the sun… probably to buy some more Amiibo. Because who told you you could stop buying Amiibo, huh? Get out there and buy some more goddamn Amiibo! But while many games will make an honest attempt to remind you of the world beyond your bedroom, few among them will actually ask you to close up shop as part of the game itself.

Then again, most games aren't part of the endlessly inventive Legend of Zelda series. In the case of the DS-exclusive Phantom Hourglass, this level of invention appears in the form of a classic key quest (with a twist). Said quest tasks Link with finding a way to affix a sacred crest to a seafaring chart. Sounds simple enough, and it is, provided you're able to think outside of the box - or handheld gaming device, as the case may be. Simply highlight both bits - one on each screen - before shuttering your DS and reopening. Tada! Both elements have now magically bonded, and all because you took a breather. Good luck trying that one with an emulator…

'Victory through inaction' is about as close to a catchphrase as the Spec Ops series is ever likely to get. Make no mistake about it, if you were one of those fortunate enough to miss out on the first nine titles, then you - sir or madam - truly were a winner. To say that these games were shoddy is an insult to true shoddiness. In truth, they were little more than uninspired dreck, the veritable bargain bin liners of a bygone day and age. Then of course came The Line, team Yager's incisive spin on/total indictment of the modern military shooter.

Here again, 'the only way to win was not to play'. However, unlike earlier games in the franchise, this decision had absolutely nothing to do with the title's supposed lack of polish - just the opposite, in fact. You see, protagonist Captain Walker's aim is if anything a little too effective, a factor that permits both he and the player to continue on with their mission long after losing all effective and justifiable impetus for doing so. In short, the further the player progresses, the more needless the devastation unleashed. All with the game goading and openly mocking your bloodlust every step of the way. Well done, winner. You're a monster. You really should have stopped playing.

Long before the Battlefield series spread to consoles, it had one of the most dedicated communities on PC. The fans were reliving World War 2 over and over again in team deathmatch, with a passion that I'm sure the developers had hoped to inspire. But when EA and DICE released a futuristic sequel, Battlefield 2142, they handed out special points multipliers for every 24 hours the passionate fans didn't play the game.

Of course, the official messaging on the feature focused more on assisting those that simply couldn't play the game as much as their competition. If jobs, or pets, or heart surgery distracted you from logging into Battlefield 2142, you would accrue an hour of Away bonus for every 24 hour period you weren't in the game, doubling the Career Points you'd earn in battle. Given that 2142 is the underplayed black sheep in the BF series, it seems like a lot of Away bonuses were earned by players before the servers were officially shut down on June 30, 2014.

thatgamecompany is one of the more avant garde developers around, creating games that are as much about atmosphere as gameplay. As such, thatgamecompany wants players to soak in the artistic vibe of Flower and Journey at a slower pace, even encouraging them to step away from the game for seven days before resuming the adventure. This 'more casual' playstyle is incentivized via the most hardcore of the PS3's in-game tools, the Trophy.

Flower's Welcome Back and Journey's corresponding Return are Bronze Trophies handed out for quitting the games for at least a week and then resuming your campaign. Those extra days away might give you enough time to truly deconstruct the themes and techniques of these thought-provoking games, putting those lessons to work in your own life. Or, if you're like most Trophy fanatics, you briefly pushed the system's internal clock forward by a week and immediately collected the Bronze, foregoing any transcendence. If only all epiphanies were this easy.

Bravely Default is Square Enix's return to form for the JRPG genre. Tropes like amnesiac teens, HP/MP, and world-powering crystals are all in full effect for the lovely throwback, but it also has some gameplay tricks that couldn't be done in 1992. For example, the new SP metric allows you to take extra actions during combat, which can turn the tide in a difficult battle. And you earn SP for having a good night's rest (kind of).

SP stands for Sleep Points, which are collected for every eight hours that your game is in Sleep Mode when the 3DS is closed with the game on. That's enough time to get the doctor-recommended amount of rest or finish a full day's work at the office, all leaving you and your characters refreshed for when you return to Bravely. The only thing undercutting these good intentions is the fact you can also buy SP via microtransactions. Paying for an SP Drink replenishes Sleep Points without the wait. If only we could spend money to avoid sleeping in real life. Or is that what caffeine is for?

Every now and then you'll see a sensationalist news headline about some poor soul that played an MMO until they died of exhaustion. Those tragedies, along with a general portrayal of kids wasting years of their lives on virtual avatars, feed a fear that people harm themselves by playing a game like World of Warcraft. No doubt with those fears in mind, Blizzard (ever the canny developer) implemented Rested XP as a way to make logging off beneficial for its diehard audience.

After heading to an inn and leaving the servers, every eight hours a day spent away nets you a Rested XP bubble. You can stockpile these for up to 10 days. When you return, each bubble grants double XP for kills until the bubbles all dissipate (aka your dwarf is no longer rested). That means players who only log in once a week have a chance of closing the gap with their more hardcore friends. So, when you're thinking of pulling an all-nighter to off 30 rats, you might be better off napping and then killing 15 in the morning for the same XP. Then again, if you're that hardcore, you likely hit the level cap a long time ago.

Nintendo games are notorious for continually hitting players with warnings about playing too much, with most games featuring at least one character that shows up to lecture you about taking a break. Pokemon has been known to engage in the same finger wagging as well, but the DS remakes of Gold and Silver didn't just tell kids to switch off their handhelds. The duo of games push Pokemaniacs to get their lazy butts into shape alongside their Pokemon.

The Gold/Silver remakes come packed with the virtual pet-style Pokewalker. The circular, simple electronic device is shaped like a Pokeball, and you use it to temporarily take individual Pokemon out on a walk to collect experience and mildly uncommon items. It’s a cute way to get slightly active via pocket monsters, but you can only gain a single level per trip, meaning it’s less time consuming to remain immobile and grind out XP in-game. Laziness wins again!

Peter Molyneux is just the type of mad genius to conjure up a virtual real estate market within one of his fantasy worlds. Fable 2 did a much better job than its predecessor with paying off Molyneux’s lofty design dreams, and it includes a world so dense that you can buy property and collect rent from it while not even playing. You can step away from the game and know you’ll have some cash waiting for you when you come back.

The rent payments go into your coffers every five minutes you aren’t playing Fable 2, and it can stack up for up to two months' worth of gold. Of course, this it vulnerable to the offline exploit of simply turning the system clock forward two months to collect the cash immediately. This is why we can’t have nice things. I’m assuming Peter Molyneux agrees, because the cash-for-not-playing aspect is missing from Fable 3’s real estate.

Despite Nintendo’s many series that whine to players to put down the game occasionally, Fire Emblem once seemed too hardcore to tell you to walk away. In fact, most FE entries were more likely to drop you into a grueling, 45 minute battle, allow no saving during the permadeath conflict, then say, “Deal with it, loser.” When 3DS’s FE: Awakening rolled around, it softened some of its edges, including doling out rewards for stepping off the battlefield every now and then.

Like most strategy RPGs, you can spend time leveling up your Awakening squad of knights and dragons in random battles that pop up on the map. But if you overdo it and kill off the few superfluous baddies dotting the map, they’ll respawn as weaker and weaker pipsqueaks. Conversely, if you step away for a few hours, the map will be repopulated with dramatically more powerful opponents that drop better items and cash. Nice bonus and it also spreads an important message about the dangers of factory farming. Or am just reaching with that?

Hideo Kojima uses every tool at his disposal when making Metal Gear Solid games, and that includes messing with the in-game clock in ways most players will never notice. Of all his games, Metal Gear Solid 3 might be the best at finding unpredictable ways to grant players advantages for turning off the game. For instance, if Snake has taken too much damage, just take a long break from the campaign and his health and stamina return to normal. Though, all his food turns bad in the time you waited for Snake heal.

But the rewards for ignoring MGS3 go much deeper than that. The End is one of the toughest bosses you may ever face in any game, mainly because the wily sniper is hard to find and even harder to kill. If he’s too tough for you, Kojima gives you an out: just leave things alone for a week. When you return seven days later, the decrepit The End will have died from old age. In a way, it’s actually more humane to let him expire from natural causes.

Now that I’ve reached the end of this feature, are you sure you don’t need a break? It’s just that you look tired. If not, share your own favorite memories of when you didn’t play a game right down there in the comments!

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Good games bring out the best of E3 - and a good E3 brings out the best of games. That relationship is always true but not always adhered to, making E3 2015 one of the finest shows in years. Finally, the platform holders and big publishers are rolling up their sleeves for reasons other than showing off the latest military arm-hair rendering technology.

Both PlayStation and Xbox made investments in new, large-scale games, while the showing from independent studios came with a ferocity and appeal not seen in years past. As a result, and after 3 days of playing as much as we could, we’ve assembled this list of E3 2015's most exciting games. Just over half of them are original, one is available already, and those that return from existing properties really earned their spots. Good job, E3.

One stray white feather was all it took for all of us to collectively lose our minds during the Sony press conference because it has been so, so, long since we’d heard anything about The Last Guardian. Anyone familiar with Fumito Ueda’s Ico and Shadow of the Colossus may notice that his next game appears to be a mash up of themes from the two. It combines the massive sense of scale from Shadow of the Colossus with the touching, personal relationship portrayed in Ico. We don’t know much about the protagonist (a young boy who has been kidnapped under bizarre circumstances) but what we do know is that his griffin-like catbird friend Trico is there to help him get out.

We didn’t see any other living creatures this time, but danger doesn’t have to lurk in the shadows. The environment itself is treacherous, and from what we’ve seen you’re always surrounded by soaring towers with no hint of where the surface of the world is when you look down. Using Trico’s strength and the boy’s small stature, the two make the perfect puzzle-solving pair. It’s the details that make The Last Guardian something special, from the boy’s exaggerated animations to Trico’s dog-like mannerisms. And that’s what we’re dying to see more of: the budding relationship between the two, which will hopefully culminate in a beautiful happy ending where they both make it out and ride off into the sunset. No one needs to think about the alternative …

In addition to being one of the best games at E3 2015, Fallout 4 should also take home the award for being the most hyped game at E3 2015. After its official announcement during the Bethesda press conference, Fallout 4 has sent the industry into one giant fanboy freakout. You all can't get enough of it, we can't get enough of it, and pretty soon, come November, we're all going to get our chance to play it. And why shouldn't we be excited? The core Fallout series has always maintained that ideal balance of strategic gameplay and dark, apocalyptic humor. Fallout 4 promises all that, and so much more.

For starters, you can play the role of an urban planner. Fallout 4 will let you custom build your own home, which can then grow into a settlement and attract traveling item vendors to supply you with new goods. You can roam the countryside with Dogmeat, your indestructible canine companion who fetches items for you. Then you can use those items to fine-tune your makeshift weapons through numerous add-ons and modifications. Of course, these minor details are really just the tip of the iceberg as there are (probably) tons of surprises waiting to be revealed between now and November. Time to refill that Rad-X prescription, because we're headed back to the wasteland.

Amidst all the explosions and noise from Star Wars Battlefront (we’re not complaining) and fanfare around the latest sports title, it was great to see EA back a whimsical-looking game featuring a walking yarn creature, aptly named Yarny. As Yarny, you use the yarn that you’re made of to cross obstacles and swing yourself from one place to another. You make your way through lush gardens, rainy streets and other dreamy settings that were inspired by real-life locales in northern Sweden, where the developers from Coldwood Interactive are based.

This physics-based puzzle platformer comes with a sentimental story, as hinted in the trailer and described by the creator, Martin Sahlin. It’s hard not to get a bit misty-eyed when you see the struggles Yarny has to face in the harsh, real world. Okay, maybe it had more to do with the melancholy music. Either way, the red thread represents all the bonds that we form with people in our lives. But then, what happens when all that … unravels?

It’s a marvel for Mirror’s Edge Catalyst to even exist in its current form. Its priorities are at odds with many major franchises, more rooted in acts of graceful escape than full-on violence, and its vibrant look somehow finds beauty in a sterile, corporatized city. It’s now impossible to pick up a gun as you bounce between soon-to-be-KO’d enemies like a kung-fu bunny.

But what’s most interesting about Mirror’s Edge Catalyst, beyond the immediate quality of its motion, beyond its clever integration of speed-running challenges in a city of reflective shards, and beyond its intriguing heroine, Faith, is that much of this could have been said about the previous game. It had such an impact that you can’t help but view its return with suspicion, scanning for the catch, waiting for that whiff of a vision compromised in some disappointing way. But with no gunplay (for real), a three-dimensionally expanded world and a demonstrable attempt to rebuild Faith’s story, Catalyst looks like the game DICE really wanted to make all those years ago.

The creators of Killzone are working on a game that remarkably doesn’t look like a game from the creators of Killzone. Nature has reclaimed the world of Horizon: Zero Dawn, a thousand years after humanity has shriveled and settled itself as primitive counterpart to new breeds of cybernetic animals. You’ll hunt them as Aloy, a human warrior with a warm heart and quiver full of specialized arrows.

Horizon’s world seems fresh and imaginative, with thunderous cyber-beasts serving as both mystery (who made them?) and formidable opponents in combat. Guerrilla exudes an exceptional attention to detail in this aspect of Horizon: Zero Dawn, granting Aloy different arrows and ropes to pin beasts down, or tear off individual pieces of armor. And when their nuts-and-bolts spill out, she finds new uses for them in crafted armor and weapons. Aloy proves her mettle not only as hunter and engineer, though, but also as an emphatic, quick-witted personality.

Good ol' Mario. He's kept us entertained for 30 years with his his joyful koopa-stomping, princess-saving adventures, and Super Mario Maker is a celebration of that legacy. Dubious looks may have been shared over the concept from time to time (did Nintendo just design half a game and give the rest to the players?), but in practice Super Mario Maker is a solid experience that truly combines the fun of Mario's 2D adventures with a lot of creative fun.

Letting you change the style of your level between four different 2D Mario games, Super Mario Maker gives you access to almost all the different pieces of the Mushroom Kingdom and sends you out into the wild. It's a ton of fun designing impossible levels (which the game happily lets you do), putting a flying Koopa on top of five springs and watching the resulting mayhem. But once you get over your desire for chaos, Super Mario Maker gives you solid tools to design levels that are every bit as good as those in the original games. You can then share those levels with other players and try out their designs in return. Plus, no need to worry about trolls - a creator has to be able to beat their own level in its current form before releasing it to the world. Super Mario Maker is good, clean, creative fun that makes doing all the work fantastic.

ABZU is the ocean of wisdom. At least, that is what it means when you combine two ancient words “AB” for ocean and “ZU” meaning to know. ABZU stood out as one of the most serene experiences during the week of E3 2015. In this beautiful underwater exploration game, creator Matt Nava (and former lead artist on Journey) wants to create a fluid world for a player to explore and discover.

Where Journey made your destination fairly obvious, ABZU is more open, and designed in a way where you’ll naturally end up where you need to go next. The world beneath the waves is vast, and there’s so much to see. As a diver with no health gauge to worry about, you can swim around and explore, do flips, ride on the back of a manta ray or swim with a school of fish. It’s peaceful, refreshing, and easy to get lost in.

It isn't just Battlefield with Stormtroopers. Star Wars Battlefront takes an arcadey approach to large-scale online battles, one that's clearly in love with its source material even as it reshapes cinematic moments into thrilling multiplayer flashpoints. The hands-on E3 demo had 20 Rebels and 20 Imperials fighting in the Battle of Hoth, with Imperial forces escorting a pair of AT-ATs toward Echo Base's shield generators and the Rebels trying to destroy said walkers. Oh, and unlike in The Empire Strikes Back, the Rebels can win.

Trading blaster fire feels like a pretty standard first/third-person shooter, but movement is surprisingly bouncy, especially with a jetpack in your loadout. Picking up a TIE Fighter or Snow Speeder token lying around the map allows you to call in air support, sending the camera sweeping up and away to follow your new ride. It's immediately ready for action, letting you transition straight to aerial battles without interrupting your frontline momentum. Battlefront's full of smart, unexpected choices that all get you doing cool Star Wars stuff faster, making it far teresting (and fun) than just a force-flavored Battlefield clone.

When the Tomb Raider reboot came out in 2013, it felt like meeting an old for the first time in a long while. Lara was different, but in a good way. Always a scholar with the uncanny ability to go exactly where the trouble is, she was now also a survivor with an indomitable will. We didn't just want to go with her on an adventure - we wanted to see her beat everything the world tried to throw at her. Now she's back to it all over again, but this time she's on a personal journey to find her place in the world and become the person she was always meant to be. And that means raiding a lot of tombs.

Rise of the Tomb Raider takes what worked so well about the previous game - a revitalized Lara, refined combat, interesting collectibles, and fun sidequests - and mixes it together with improved stealth and crafting systems. Now you can customize weapons to fit your playstyle, and blast through packs of enemies without firing a single bullet. Most importantly of all, it's tombs are several times as detailed, latching onto one of the taproots of the series that made us love it in the first place.

In Norse mythology, Eitr is a poisonous substance and yet the source of all life. At E3 2015, it was a surprisingly excellent action RPG, inspired in equal parts by Diablo and Dark Souls. As in Dark Souls, you may be able to take down a few monsters by mashing buttons, but all your little wounds will add up quickly. It's better to focus on an individual target, feinting, counter-attacking, and dodging in a deliberate tango which will vary by your creepy monstrous dance partner. It feels great, partly because managing all those little parries and thrusts as you keep track of foes is actually quite a bit easier with a Diablo-style isometric camera than in third-person 3D.

Of course, it wouldn't be a proper Diablo-like without scads of randomly generated loot. But equipping a shiny new weapon in Eitr feels much more substantial, since you're not just clicking on enemies until they're dead - different weapon combinations offer different combos and timing to keep in mind. Not to mention Eitr's heroine makes an impressive show of sweeping around the dark, crumbling, and beautiful world, and the minimalist, groaning soundtrack adds a freaky edge to intimidating boss battles. Eitr clearly hybridizes some familiar ideas, but each individual element feels even better for the transformation.

Dark Souls is a series obsessed with finding beauty in destruction; a death poem set in motion. Your hero - stoic and resolute - expresses himself from the tip of a sword, or a handful of gestures. Words are not needed in this shrouded land of death. Your weapons fill the silence, and in Dark Souls 3 they have more to say than ever before. Each armament - from longswords to bows to magic - has some unique action tied to it. The shortbow, for instance, lets you channel your inner Legolas by firing off quick shots after a dodge roll. The longsword can circumvent an enemy's shield with a rising slash that punches through it. The goal here is to create a more active Dark Souls, one that lets you personalize your fighting style let never before.

The backdrop for all this is a ruined world on the brink of oblivion. "Withered beauty," was how game director Hidetaka Miyazaki described it. An unspecified apocalypse looms heavy over this land, its withered denizens turning to the corpse of dragon and other fallen gods for some last-ditch hope of salvation. Not even direct sunlight reaches this place; the rays intercepted by perpetual cloud cover swirling the skies above. But while the end may be inevitable, how you choose to face it - right down to using a longsword over a shortbow - is entirely up to you.

“Not everything is going to make sense,” the narrator of What Remains of Edith Finch warns at the beginning of the game, and goodness, she is not kidding. What begins as a fairly straightforward visit to a childhood landmark very quickly turns into a bizarre tale involving the death of a little girl, an owl, a sea monster, and a family with a dark and mysterious history. There’s a lot to discover (not least of which is the question posed by the title), and none of it is ordinary.

Developer Giant Sparrow prides itself on “creating surreal experiences people have never had before,” and it certainly hits that mark with Edith Finch. Whatever may be going on in that house, it’s not your typical gaming experience. In much the same way that Giant Sparrow’s previous game, The Unfinished Swan, tapped into new areas of creativity to tell its story of a boy in search of closure, Edith Finch avoids the ordinary in favor of the intriguing. You think you know what’s coming, but you don’t; what’s coming is, at least from what we’ve seen so far, far more unsettling than anything you might imagine. How wonderful.

Mobile games often get snubbed at E3 because they’re not big or flashy and, if we’re being honest, not often thought of as "real" games. Bethesda’s Fallout Shelter, meant to tide us over until Fallout 4’s release in November isn’t big or flashy, but it is most certainly a real game, one with depth and personality. Perfectly tuned for its mobile format, Fallout Shelter is gorgeous to look at, has a surprising amount of detail, and its simple Vault-building concept is shockingly addictive. It is, dare I say, S.P.E.C.I.A.L. (I’m sorry. I just couldn’t resist.)

Plenty of mobile games are free to play and supported by microtransactions, but so many of them fail by letting those in-game purchases get in the way of the fun. Fallout Shelter doesn’t make that mistake; you can purchase bonus-containing lunchboxes if you like, but it’s entirely optional. You don’t have to shell out a single cent to enjoy Fallout Shelter’s irreverent and surprisingly challenging approach to rebuilding society. Keeping people happy and alive in a radiated wasteland is, as it turns out, really hard. You think they’d be content to just have a roof over their head, but nooooooo. They want food and water and power and music, too. Ungrateful jerks.

Wattam is what you would get if Katamari Damacy and Noby Noby Boy had a baby - and then gave that baby crayons and cake. It's colorful, silly, and joyous. It's a celebration of everything that links us together; of our common bonds and togetherness. It’s about blowing things up in order to bring people together, which makes absolutely no sense, but that’s ok, it doesn’t really have to.

The Earth was fighting with a Bad Guy and in order to save everyone on the planet, she blew herself up and scattered her inhabitants to the four winds. (Yeah, it’s a weird choice, but run with it.) The Mayor is the sole survivor, and he wants to bring everyone back, which he does by forming increasingly large chains of friends, which he then explodes by setting off the bomb under his bowler hat. (Mm hmm, I know, just stick with me.) Wattam is simple to play, but there’s a lot to discover, like what happens when a coffee bean befriends a pillow or when The Mayor meets his long-lost siblings. The art style is utterly endearing; even the poop is cute. (Yes. There’s poop. Golden poop, even.) To make things even more charming, the characters you encounter take their names from your PSN and Facebook friends. Whether or not you tell your mom that she’s now a chibi lawn mower is up to you.

The little Kickstarter game that could, Flame in the Flood takes you with one simple objective: survive. Well, two objectives, since you're floating down a mammoth river toward something that I'll just call Hope. It's waiting for you at the river's end, but first you have to survive the miles of treacherous post-apocalyptic terrain that lies ahead. To do that, you'll have to keep yourself hydrated, well-fed, warm, and rested, all of which are difficult to do when everything from the wolves to the bacteria in the water is out to get you.

Flame in the Flood doesn't pull any punches, and you will die very quickly the first time you play. You'll have to master necessary survival skills by trial and error, and slowly build up a bank of knowledge to see you through. Dying of septic teaches you not to drink suspicious water. Collapsing from blood loss proves that you can't fight off wolves with just a stick. Starving after eating every plant you find highlight that meat is the key to survival. And you'll learn what objects are important when you realize they could have saved you. It's a slow build to success, but every time you get a little smarter, and feel an ever-stronger urge to push further.

Though didn’t impress us by venturing into new thematic waters, it did show Naughty Dog’s peerless approach to the blockbuster action game. The over-the-top destruction on display in the game’s wild car chase somehow reflected an elegant, economical approach to storytelling. When Nathan peers over a railing to take in a huge city crawling down a hillside, it’s not just for looks - we’re seeing the road to the next story beat, and by the time the chase concludes, we’ve traversed the entirety of what seemed like just a pretty picture before.

This willingness to devote resources – be it time, money or the hard work of artists – into a wide shot like that, only to have it become a “real” constructed environment and unfurl as part of the gameplay, is what put Uncharted on the map. The framing of the chase sequence borrows well from Hollywood, and the witty repartee brings the script up to a matching level. What’s even better, though, is the brewing mystery in the story’s title. Between our trio of thieves, Nathan Drake, brother Sam and companion Sully, we’re already wondering whose epitaph Uncharted 4 will be.

By all accounts, 2015 was a damn good year for E3, and the immediate future of video games is looking especially bright. But when we look back on the E3 that was, it's easy to see that - even though these many of these projects are all worked on in strict secrecy - they still share a lot of similarities with one another.

It's hard to pinpoint exactly what causes everyone to suddenly jump aboard the same tracks of parallel thought. Maybe a few dozen grappling hook enthusiasts have wriggled their way into the gaming industry; perhaps everybody's got bigger budgets to spend on eye-catching CGI trailers. Call it coincidence, or call it the natural result of humanity's collective subconscious - these are some of the biggest trends that surfaced in the many amazing .

People watch E3 for the surprises, and this year was probably the best in recent memory to deliver on the impossible. Sony's conference was a megaton explosion of revivals, with the return of The Last Guardian, the arrival of Shenmue 3, and a remake for Square Enix's Final Fantasy 7. Square's own conference announced a brand new sequel to the cult-hit Nier. Microsoft even got in on the action, announcing the return of Rare to the world of game design and the arrival of backwards compatibility to the Xbox One. All of these things seemed unthinkable just last week. Now, they're more real than ever.

Look, this really shouldn't be considered a 'trend' - it should just 'be'. But this year's E3 was definitely a step in the right direction, as a good portion of the big-budget games we got to see star some admirable, . You can play as either a man or woman in Fallout 4, Emily Kaldwin is as much a main character as Corvo in Dishonored 2, Aloy slays mechanical dinosaurs in Horizon: Zero Dawn, Lara Croft was front and center in two press conferences, and many, many more games either star women, or at the very least allow players to choose their gender. Progress.

There's certainly no shortage of sequels that simply expand on prior ideas - Fallout 4 and Deus Ex: Mankind Divided are basically like the old games but bigger - but several publishers are taking their beloved franchises in totally new directions. Persona 4: Dancing All Night takes the social-focused JRPG and thrusts it into the rhythm game genre. Two of Bethesda's biggest franchises are getting their own mobile titles: Elder Scrolls Legends takes the sprawling RPG and turns it into a collectible card game, while Fallout Shelter is a neat little life-in-a-Vault management game. Even Ghost Recon is transforming in a big way, taking a straightforward squad-based shooter and blowing it out to open-world proportions - much like Metal Gear Solid 5: The Phantom Pain's own approach to breaking away from constrained level structure.

It's shocking how many CGI trailers we saw at E3 this year, but a lot of that has to do with how many games are slated for 2016 and beyond. We get it: publishers want to sell people on the high concept of their games, and they want to do it with some pizazz. Or maybe whatever game they're hawking isn't ready to be shown just yet. Regardless of the reason, CGI trailers are ultimately an empty promise. They're all style and no substance, filled with impossibly gorgeous visuals and highly-detailed action that will in no way be representative of the final, playable product. When you see a CGI trailer in a conference, it's basically your window of opportunity to grab a soda from the fridge, because other than the name, what you're seeing isn't going to exist.

If the popularity of Batman and Spider-Man tells us anything, it's that people love imagining what it would be like to swing off of anything and everything. And while trying to fashion your own real-life grappling hook will probably land you in the nearest emergency room, games let you zip around on a metal tether with all the freedom in the world. The grappling hook is one of the Just Cause series' biggest claims to fame, so of course it's back for ?

Seriously, Platinum Games went from making one or two projects at a time to making all of the games. They're working on Star Fox Zero for Nintendo, they're going to be working on Square Enix's sequel to the cult-hit RPG Nier, they're making a brand new Transformers game for Activision, and they've still got Scalebound for Microsoft (though we'll most likely see more of that at Gamescom). Three new announcements at E3 from a studio responsible for fantastic over-the-top action games. Everybody wins.

In 2015 and beyond, it's not just enough to play your games as designed. Publishers now want you to build and share your own creations made inside the game. With the popularity - or rather, cult-like devotion of millions - surrounding Minecraft, games have an increasing desire to cater to a generation of I'll-just-build-it-myself creators. Media Molecule's Dreams expands on lessons learned from its work on LittleBigPlanet, but that's expected. The bigger surprises come from companies like Nintendo and Bethesda. Super Mario Maker aims to be the only Mario game you'll ever need, as you can create and download custom stages across a variety of Super Mario styles. Bethesda's rolling out Doom Snapmap, which allows players to create their own arenas and gametypes within the ultra-violent shooter. Even , giving players the opportunity to construct their own settlements, and even do some light programming of their own.

They say that human beings are social animals, and while we all love to kill one another in multiplayer deathmatches, we also have an inherent need to unite and take out some aggression on emotionless computers. Many of the games at E3 2015 tapped into that sense of togetherness with tight squads of cooperative players squaring off against AI hordes. , and Star Wars Battlefront's co-op survival missions pit two Rebel players against an army of Imperial troopers. We would include The Division but... we've all seen how friendships crumble in those Dark Zones when there's loot to be had.

If you looked at the line-up with no knowledge of what came before, you wouldn't guess that the world was making sarcastic comments about how hard women are to animate less than a year ago. While it's still sadly common to see a press conference's worth of games headlined by a single gender, this E3 saw a slew of titles where women are taking center stage, either as integral and active participants or as protagonists in their own right. We may have expected Lara and a possible female addition to the Gears clan, but this year's showing blew right past that goal post and gave us a cheeky wave on the way out.

Gotta say, we like that style, and want to highlight those ladies that stand as the face of their games and the companies that created them. To that end, we've compiled a list of the most prominent female characters of E3 2015 for their adulation and your perusal. Who knows - maybe you'll find a leading lady whose story you'll want to follow.

It doesn't take long to figure out that "the old ones" Aloy speaks of in the opening moments of Horizon's reveal trailer refers to us, and we see soon thereafter how far mankind has fallen from grace: humans exist in tribes, vulnerable to mechanical beasts that roam the land. It's an imposing, intimidating future, and yet Aloy handles it like a pro as she hunts grass-grazing automatons and fends off a robot dinosaur. When the end of the world comes, Aloy is someone you want on your side.

Once a precocious little girl whose drawings could get very dark if you weren't careful about raising her up right, Emily is all grown up in Dishonored 2 and taking down targets of her own with magical and tech-assisted abandon. She strikes an imposing figure while tearing through mechanized warriors and turning into a shadow creature, breaking down every defense thrown in front of her. Plus, she does it all with elegance and poise. Her parents would be so proud.

We know almost nothing about the girl from Microsoft's new IP, Recore. Not her name, where she comes from, or what she's doing out in a desert wasteland filled with aggressive constructs. Still, in the game's debut trailer, we see her tenacity and the loyalty she inspires in her robo-dog companion, and that's enough to make us want to learn more.

You've been able to play as a post-apocalyptic guy or gal ever since Fallout 2, but some persistent rumors indicated that might be not be the case in . Bethesda showed off Fallout 4's new-and-improved third-person perspective with a bog standard white dude protagonist, but only after casually brushing aside said concerns with a great "step aside, honey, I got this" moment in the bathroom mirror character editor. Turns out the dude's wife isn't just an NPC - she's another blank canvas for you to customize and play as.

Beyond Eyes' ten-year-old protagonist isn't like the other super-powered, butt-kicking, free-running characters on this list. She has no preternatural abilities, no apocalyptic future to prevent. Instead, she's young girl without sight, on a personal journey to find her lost cat, Nani. But even without the use of her eyes, Rae's other senses let the world blossom around her like a droplet of paint bleeding across paper fibers. She sees things through the lens of her own imagination, which amplifies the beauty of the mundane - and the fear of the unknown.

Faith Connors was a female protagonist before it was cool, man. Back in ye olden days of 2008 when the original Mirror's Edge was released, we followed her on a quest to clear her sister's name from a murder she didn't commit. It looks like Faith will have bigger prey to tackle in the Mirror's Edge Catalyst reboot, but her unparalleled skills in parkour and hand-to-hand combat mean we're not worried one bit about her ability to succeed. Faith inspires … well, faith in us.

We've known about Evie's existence in the upcoming . Potentially more ruthless than her gang-leading brother, Evie gives any standing in the Assassin's way reason to be very, very afraid. As the second female assassin on our list, it makes us wonder who would win in a fight: Emily or Evie?

To Lara Croft, surviving catastrophic adventures is like eating a bag of potato chips: she can't stop after she's started, even if the results are highly unpleasant. After nearly falling to her death from a mountain cliff, she frantically outruns a blizzard as it rips the ground out from under her feet, right before she's buried in several feet of snow. Even when she emerges less than gracefully, coughing powder out of her lungs and stuck in the cold without any supplies or shelter, she still looks like one hell of a survivor. Good thing, too - something tells us that this game won't be any kinder to her than the last one.

It was hard to see much of anything in the Gears 4 trailer, since the developers took 'dark and gritty' to its literal conclusion, but we were able to pick out a new new Gears sneaking through the shadows. One of them is a woman named Kait (which we now know from the Gears Twitch stream), and from the clip we saw of her in combat, she seems every bit as snarky and capable as the Gears who've come before her.

Here's one we're not sure what to make of just yet. In an all-too-brief trailer for Xbox One game Ashen, we see a male decked out in adventurer's gear recruit a woman to help him explore a decrepit tomb. As the male character inspects some ancient treasure, he gets swarmed by monsters, and the female character gets separated. At the trailer's close, we see only the female character still alive, kneeling on a hilltop. We're not sure what it all means, but the twist of having the male adventurer seemingly die, then ending on a shot of the female character, is symbolic in its own way.

Fullbright is no stranger to female protagonists, focusing on the story of a girl named Sam as her sister Katie slowly uncovers its details in the stellar Gone Home. The studios' newest game, Tacoma, follows in that same vein, with a new, as-yet unnamed female protagonist who's tasked with exploring the remains of a space station to find out what happened there. She's a lot chattier that Katie, and has to be, because her only companion is a voice on her communicator giving her instructions from back at HQ. Other than that, she's on her own to discover the station's fate, and deal with that she might find (or, well, the other way around).

Much like Tacoma's astronaut, Delilah spends most of her time on one end of a walkie-talkie, only on the opposite one from the player. Delilah is a national park supervisor in Firewatch, and communicates regularly with her man on the ground, Henry (aka you), about the state of the forest and his watch. As one of two characters in the game (three if you count the wilderness itself), Delilah is an important part of Henry's adventure, and interacting with her is almost as important to the game as not falling off of a cliff or getting eaten by anything. Their relationship changes dramatically depending on how Henry responds to her, so it's worth your time to listen to what she has to say.

Rainbow Six Siege might've had us grimacing uncomfortably at E3 2014 when its only female character was a glorified flag you can use as a human shield. It's doing a whole lot better this year though, in no small part due to the introduction of the Rainbow unit's leader, a stern and serious woman named Six. Played by the timeless (and apparently ageless) Angela Bassett, she will be the voice of authority during the team's missions, organizing them and making sure everything goes according to plan. We're not yet sure how much of a role she'll play in the missions themselves, but we're sure to see more of her before Siege lands in September.

The diver from Abzu might seem effectively genderless, given that she spends all of her time in a diving suit, and it has no effect on her ability to ride on the fin of a giant manta ray. But when it's normal to dub an agender character male by default, it's nice to see the script flipped. In Abzu, this unnamed female diver's only goal is to explore the ocean depths, make friends with fish, and discover secrets buried so deep that the surrounding fish have headlamps. Not deterred by the thought of vicious sharks or a nasty case of the bends, this diver will risk life and limb to discover what lies below, all to the sound of a whimsical score.

So, E3 happened and, as expected, Fallout 4 dominated proceedings. In the course of two days, we learned more about Bethesda's post-apocalyptic RPG than we have in the course of several years of desperate hunting. Rumours were confirmed, gossip was waved away and, most excitingly, there were some real surprises in store, too.

The biggest of all, of course, was the release date. The game will be out in November, bucking the usual E3 trend of a first reveal coming years in advance. Apart from anything else, that means we got trailers, full feature rundowns and huge chunks of gameplay to watch from the get-go - here's everything we know so far.

Our Vault Dwellers have always been the strong, silent types, seemingly communicating all information via telepathy or morse code spelled out by gunshots. This time - whether you play as a male or female character - your character has a . It's apparently taken four years to write and record the 13,000 lines of dialogue required for each character, but producer Todd Howard wanted us to connect with our characters more, and this is the way to do it.

It helps that we'll be designing them to within an inch of their life, too. Far from the buttons and sliders of most RPG character creation sections, Fallout plonks your character in front of a bathroom mirror and lets you literally play with their face until you have it the way you want it. Design their spouse too and the game auto-generates a baby based on your creations. For its final trick, the voice of your Mr. Handy robot can cope with thousands of the world's most popular surnames, meaning you'll be referred to by name as you go. Immersion is the name of the game, seemingly.

This is the one main rumour that proved to be true - Fallout 4's Massachusetts setting is real if a little twisted. The big hitters are all there - there's a settlement inside Fenway Park, and the series has always made reference to M.I.T, now known only as The Institute - but this is an an alternate history, too. Real-life locations that have since been demolished still remain, like the old city centre, Scollay Square.

It's faithful enough that ex-Boston residents working on the game have said it made them homesick - but its the differences to previous games that has us interested. Fallout 4's Boston is significantly more built-up than the Capital Wasteland or New Vegas, with ramshackle skyscrapers and busy settlements popping up across the game trailers. Does that mean this game is set a fair bit later than either of the last two games?

"I'll be playing the game and run into something and be like, 'Who built this? What is this? It's so big!'" So says Todd Howard, a man supposedly overseeing the game. If he's not seen it all, what chance do we have? The focus clearly seems to be on building a world that offers up the kind of stories we can swap with friends, one of Bethesda's chief talents - and in that respect.

We've not had any official word on exactly how big it is, but screenshots show off far more than simple urban wastes, and lead producer, Jeff Gardiner, summed it up by saying "I've played the game probably 400 hours, and I'm still finding stuff that I haven't seen yet." Get working on some thumb calluses - we're going for a virtual hike.

First up, you start the game pre-war. You know those old trailers for Fallout that showed the '50s techno-Americana bliss before the bombs dropped - you're living it. For a bit. Soon, you're running for the familiar environs of a vault (number 111 in this case) and a mushroom cloud signals the end of taht chapter.

I assumed that that meant you'd end up playing as the auto-generated baby mentioned earlier. Nope. As it turns out, your chosen character survives in their vault for 200 years. No one else does. Presumably, this will be the thrust of the storyline - working out just what Vault-Tec did to keep you from dying (or aging), while your spouse and child didn't make it. Fun!

That's not to say you'll be alone. The entire first trailer made it pretty clear that true series hero, Dogmeat, will be playing a major role. I'm guessing this is a different abandoned Alsatian to the one that glitched out and disappeared in my Fallout 3 save file (although in a game where someone can live for 200 years and come out of it a bit groggy, who knows) - it's certainly a more useful version.

Dogmeat can now take more advanced orders, attacking or distracting enemies, fetching items you can't be bothered to schlep over to and, most importantly, is totally invincible meaning I won't have to stop playing to have a bit of a cry at any point.

Fallout 3 ran on the Gamebryo engine. That was modified and re-released as the Creation engine for the release of Skyrim. Fallout 4, which has apparently been in development since 2009, runs on its own version of Creation. Bethesda, it seems, does not like change.

That's not to say that it'll feel like an old game. It's clear enough from the trailers that significant work has gone into the lighting and animation style, while the face-to-face, zombie-like conversations of old are out completely. Facial expressions are far more complex, and the conversation system is dynamic, not only letting you see the scene in third-person, but even break off to run away or attack your unsuspecting talking partner.

Fallout always did a (slightly) better job than its fantasy equivalents at using junk items in meaningful ways - and yes, the Rock-It Launcher returns, thankfully - but Bethesda's collection of inventory ephemera gains new purpose with the addition of a huge new crafting system.

Every weapon and armour set can be added to, altered and made to look significantly more badass with the application of a plethora of junk. How toy rockets are being used to create a sturdier rifle stock is never fully explained, but we'll be happy just to trade in a hundred broomsticks for some discernible reason, thank you very much.

Certain plots of land in the game can be used to create full settlements, from scratch. Think of it like the building system of a game like Rust, but with way> fewer penises. Build it, and wasteland inhabitants will come - the more you offer to passers-by, the more they'll want to set up shop (if they're rare items merchants, sometimes literally).

But the bigger you build, the more of a target you become. You'll need to set up defenses (including stringing powerlines around from generators) to, er, dissuade raiders from stealing your stff and killing your new citizens. But it's worth it - build more than one settlement and you can mogul it up by sending trade caravans between your towns.

Fallout's never taken itself too seriously - expect 4 to follow suit. Even without whatever the inevitable Wild Wasteland perk brings with it, we've already spotted the obligatory nuke launcher, rideable Vertibirds, airstrikes, jetpacks, and baseball bats with buzzsaw blades strapped to the end.

Best of all, your Pip-Boy's now an in-game console of its own - you'll be finding, let's say, familiar retro games to play on your green and black display. The original Donkey Kong featuring a Pipboy player-character, the slightly eerie inclusion of Missile Commander and more will be appearing.

The biggest surprise of all was that Fallout's incredible mod community will be getting a much bigger audience this time around. Todd Howard confirmed that Xbox One players will be able to download mods made for the PC version of the game first, with PS4 to follow suit later.

There's no word on exactly how this will be done - I'd guess at a pool of approved mods, but even without the truly outlandish stuff, that's a huge step towards keeping Fallout a going concern on console for years to come.

This year, the real winners of E3 are the players. Yes, yes - this phrase gets trotted out so often, it has become cliche. However, it really does feel like is show that offers something for everyone. Want mega-blockbuster games? Try Fallout 4, Halo 5, Uncharted 4, Ghost Recon Wildlands. Want something more designed? You've got Unravel, Abzu, The Last Guardian. Nostalgia? How about the Final Fantasy 7 remake, Shenmue 3, Rare's back catalogue... It's all here. Games win!

However, for every winner, there's often a loser. We've decided to round up a selection of our personal winners and losers from the show, demonstrating that for every awesome action, there's often a sad or amusing reaction. These aren't really games... more people, events and concepts. And Pele, who is all three.

Want to read about the actual games that won E3? Check the video below...

During every gauntlet of E3 press conferences, there's always one. One moment that stands out above the rest; the kind of experience you look back at fondly, long after the game it was tied to has come and gone. It could be a hilarious line, like "Attack its weakpoint for massive damage" or "one million troops... WOW." Or maybe it's that moment when months of hype pay off with a spectacular reveal, or a seemingly impossible announcement totally blindsides you (in a good way).

Whatever it ends up being, that memorable moment is something to treasure. Now that the press conferences are in the books, it's time to reflect on the moments that wowed, shocked, and delighted us. Stay awhile and reminisce with us about these less-than-a-week-old events, won't you?

Back in the early days of Xbox, then-president of the Interactive Entertainment Business division at Microsoft Don Mattrick likened backwards compatibility to backwards thinking. "If you're backwards compatible, you're really backwards," the Wall Street Journal in a 2013 interview, stating that only five percent of users would utilize the feature anyway.

If only Mattrick could have heard the thunderous approval from the crowd at Microsoft's E3 press conference, when it was announced that that backwards compatibility will arrive on the Xbox One this fall.

Guerilla Games doesn't have much of a reputation to those who haven't played a Killzone game, but their next game on PS4 offers the kind of world that'll command anyone's attention. As with Enslaved: Odyssey to the West, this post-apocalypse isn't a barren desert; it's a lush, overgrown jungle resting atop a collapsed metropolis, and it's absolutely gorgeous. There seems to have been some kind of robot rebellion leading up to this strange future, because wildlife like deer and birds have been replaced by metal simulacrums (that use car alarm noises to call for help).

The trailer gives you just enough time to fall in love with the female protagonist Aloy, who seems as tenacious and capable as Lara Croft. Her arsenal is an interesting mix of old and new: arrows with bullets for heads, spears made from sharpened machine parts. And then BAM - in charge some colossal cyborg dinos, complete with blue lasers and primal screams. Watching Aloy take down one of the beasts with some metal tethers and a stab to its robot heart is enough to make Horizon shoot to the top of your 'most anticipated games' list.

It was pretty great to recognize Angela Bassett as boss Six in the trailer for Rainbow Six: Siege; her likeness was so accurate that it even recreated her distinctive mouth movements perfectly. An actress of her stature joining the game’s cast was announcement enough, but when the woman herself walked out to share the stage with Aisha Tyler to discuss her role, we kind of lost our minds.

Bassett is an Oscar-nominated actress with a 20-year career that’s included turns as Betty Shabazz and Tina Turner, who (unlike so many others) regards her role in a shooty video game with the same craftsmanship that she does any other acting performance. She treated her appearance on Ubisoft’s stage with elegant, effortless grace, giving her digitized role - and the audience that would be enjoying it - respect. Her appearance at Ubisoft’s press conference also put two women of color on the same E3 stage, a sight practically unicorn-like in its rarity. It was a moment of true class in a sea of hype and awkwardness, and we loved it.

I don't know about you, but I spent the first few seconds of Sony's press conference saying, "No, no" with intense disbelief, and the three minutes that followed watching a boy and his giant bird dog explore a temple while trying not to cry. After years and so, so many vaporware jokes, we not only saw The Last Guardian emerge from obscurity, but there was a release date attached to its fuzzy, feathery tail. Does anyone else hear a triumphant music number coming from nowhere?

The trailer itself was fairly calm, showing the unnamed little boy we all remember from 2009 shouting to call his towering Falcor-like guardian. Most of the gameplay involved him moving onto different platforms, manipulating objects to make a new path, and making death-defying leaps of faith with the belief that the guardian would catch him, oh lord please catch him! Yet it was so charming, so beautiful, so lost to us for so long that even that simple bit of gameplay was enough to get us making incomprehensible noises of joy at each other. And then they followed it up with a splash image that simply read 2016, and the tears were unstoppable.

Let me take you on a journey back in time to PlayStation Experience 2014, where Sony and Square Enix pulled one of the greatest bait-and-switch moves in game conference history. In the middle of a long evening of new game announcements and trailers, a trailer was shown filled with the nostalgic images of Final Fantasy 7. 'This is it,' thought literally everyone watching at home. 'This is when that Final Fantasy 7 remake finally gets announced.' The trailer continued: Cloud fighting Shinra's grunts, the Highwind taking flight, and Sephiroth stepping through the fire. Any moment now those visuals were going to change into something new, something modern. A new FF7 was right around the corner.

Except it wasn't. Instead it was a port of the PC version to PS4. We all died a little inside that night. But at E3 2015, Sony and Square Enix redeemed themselves by finally, at long last, announcing the remake Final Fantasy fans have been clamoring for. A new Final Fantasy 7, redone with a fresh visual style, is on the horizon. The internet's reaction can be summed it with one phrase: 'NO WAY!!' followed by 'WAIT, WAIT, NO WAY!!' It was a huge surprise, tempered only by the fact that Sony's press conference was filled with huge surprises.

Nintendo’s been getting pretty good at having some fun with their Directs and Digital Events, but the E3 transformation of Reggie Fils-Aime, Satoru Iwata and Shigeru Miyamoto into muppets - and then into muppet versions of characters from Star Fox - was their most delightful move yet. Nintendo didn’t take the gimmick too far, but did let the muppet hosts stick around for a while, mostly just to dance. It was pure, unfiltered happiness, which is basically Nintendo’s shtick.

It was a perfect reminder amongst the gore and guns of other press conferences that not everything has to be gritty or mature to be fun. Nothing wrong with a well-placed headshot, of course, but the muppets of Nintendo channelled childlike joy that left us grinning. : “You know and I know the warmth you feel whenever there’s a muppet around.” Everything really is better with muppets.

Sony's press conference was filled with games we had long-suspected of being vaporware, but arguably more surprising was Yu Suzuki taking the stage to reveal Shenmue 3. Okay, so it was to reveal a Kickstarter for Shenmue 3, but still. While The Last Guardian and a Final Fantasy 7 remake were at least churning in the rumor mill, the revival of Shenmue came completely out of left field.

Chills are still running up the arms of Dreamcast diehards and Shenmue supporters the world over, and financial pledges for the Shenmue 3 Kickstarter have poured in at a rate that's shattered records (and looks poised to overtake Bloodstained as the crowdfunding platform's most-funded video game project). Hearing that beautiful orchestral theme again, it's hard to blame fans for getting swept up in the moment.

When Bethesda finally pulled the lead-lined curtain off of Fallout 4, I was satisfied. It looked great, but after years of waiting to hear even the slightest peep about the next game in one of my favorite series, I was ready to keep waiting until next year to actually play it. After all, there was a ten-year wait between Fallout 2 and Fallout 3, right? Waiting ‘til spring or fall 2016 would be nothing next to that.

But Bethesda decided to get the whole thing out of the way at once, announcing a Fallout 4 release date of November 10. It makes sense in retrospect, since Skyrim, Bethesda Game Studios' last big project, shipped three years ago. That's plenty of time for a big, seasoned studio to get another project together, I just… just wasn't ready to get my hopes up for it. Sniffle.

When Nier New Project director Yoko Taro took the stage at Square Enix's press conference, it felt like a fractured dream after hours of restless tossing and turning. Square Enix's press conference was easily the most boring of the lot, long on time and short on announcements that weren't already announced the day before, but then… there was that helmet. And everybody watching who hadn't played Nier - which was a cult hit at best, so a lot of them - had no idea what was happening.

See, the helmet was a replica of Emil's weapon-form head from the original game, but nobody said anything about it. They didn't even acknowledge it was there, letting Taro deliver a standard "please look forward to it" speech as if he didn't have a terrifying Majora's Mask reject sitting on his scarf-wrapped shoulders. Which he did... unless it was just a mass delusion. Actually, it might have been a mass delusion.

Destiny’s elegant construction as game and machine has kept players in a lovely loop of gunplay and character improvement. Its structure has bounds, though, and can eventually start to feel static when hours of Raids and Strikes start blending together. Developer Bungie wants to bring a ghost into Destiny’s machine now, and earn the “expansion” label for its next project, The Taken King.

The Taken King will pull up to Destiny on September 15 like a dump truck and unload a rattling avalanche of new guns and armor. There will be no shortage of MORE, but that’s to be expected. What we want is more different.

Your successful mission to kill Crota in the previous DLC has consequences, beyond the rewards that spill out of him. Bungie essentially casts Crota’s body into the foundation of The Taken King, connecting the premise not to an uncontrollable galactic event, but to something you accomplished yourself. Crota’s god-like father is furious in the aftermath of your deeds, swiping a ghostly hand across the galaxy to wipe you and your regicidal guardian out. Also, his name is Oryx. Has there ever been a nice person with that name?

As Oryx lands his “Taken” armies on the rocky Martian satellite of Phobos (no stranger to demonic invasion in games), your perception of the Cabal changes. They’re hit hard by the corruptive effects of Oryx; their defeat shaking their standing as a strong faction in Destiny and making Bungie’s new villain appear even more threatening. The actors are shifting positions, albeit subtly, in Destiny’s story.

Destiny: The Taken King introduces three new sub-classes as ‘lost Guardian arts,’ with a standout going to the Warlock. Bungie’s knack for on-the-nose naming still thrives with Stormcaller, which lets you summon maelstroms of electric energy and charge forward, blue lightning flowing from your fingertips, just like Emperor Palpatine leaning forward on a Segway. Do we really need to go over the appeal of that?

The Titan gains Sunbreaker, which lets you hurl a big ol’ hammer like a boomerang, while the Hunter obtains a support class in Nightstalker. Summoning a glowing bow from the ether gives the Nightstalker a quick step up in combat, but the utility of the power isn’t as cool as the flashy looks. Between your transformation into an electric wraith as Stormcaller, and the Nightstalker's ethereal magic bow, I feel like Destiny is subtly tilting its sci-fi/fantasy balance, and maybe even making a case for guns not being as cool as instant storms.

The regular enemies in Destiny are so numerous and so effortlessly destroyed after a certain point, they all start blending together. Knights and Phalanxes can’t escape Oryx’s influence, returning in The Taken King as his corrupted thralls.

This is bad news for you, a Guardian, but good news if you’ve long stopped thinking of aliens as anything more than snarling sacks of XP. Their appearance is striking and creepy at the outset, forcing you to face a perversion of the old and familiar.

Destiny’s Crucible matches get a distinct air of intergalactic sports with the Rift game type, which Bungie sees as the long-awaited answer to a capture-the-flag style objective mode. It’s simple: get the spark and dunk it through a space-time rift (video games!), or do a backflip dunk to get extra points.

Meanwhile, “Mayhem” mode amps up the silliness by boosting the recharge rates of supers. The resulting fireworks, especially with the flashy new sub-classes in the mix, is meant to be thinly veiled chaos. The mechanical basics of Destiny’s PvP combat are still there, but they feel heightened to an extreme degree in Mayhem - perhaps to the point where more balanced matches seem mundane in comparison.

Oryx’s quest for revenge initially brings you to Phobos, where you’re sent into a crumbling Cabal vestige to investigate. The interior is pockmarked with explosions and strange slices of three-dimensional distortion, with debris weightlessly suspended in the moment of impact. The hmm-what-happened-here setup is eerie and well executed, eventually leading to your first glimpse of Crota’s big bad dad.

Bungie says it wants to drive players into further environmental discovery in The Taken King, later sending them into Oryx’s dreadnaught, a “giant, evil mausoleum.” If the developer follows through, it’ll resurface one of Destiny’s most romantic concepts: the guardian rummaging through mysterious, fantastical places, his or her footsteps bringing otherworldly machinery to life.

During every gauntlet of E3 press conferences, there's always one. One moment that stands out above the rest; the kind of experience you look back at fondly, long after the game it was tied to has come and gone. It could be a hilarious line, like "Attack its weakpoint for massive damage" or "one million troops... WOW." Or maybe it's that moment when months of hype pay off with a spectacular reveal, or a seemingly impossible announcement totally blindsides you (in a good way).

Whatever it ends up being, that memorable moment is something to treasure. Now that the press conferences are in the books, it's time to reflect on the moments that wowed, shocked, and delighted us. Stay awhile and reminisce with us about these less-than-a-week-old events, won't you?

Back in the early days of Xbox, then-president of the Interactive Entertainment Business division at Microsoft Don Mattrick likened backwards compatibility to backwards thinking. "If you're backwards compatible, you're really backwards," the Wall Street Journal in a 2013 interview, stating that only five percent of users would utilize the feature anyway.

If only Mattrick could have heard the thunderous approval from the crowd at Microsoft's E3 press conference, when it was announced that that backwards compatibility will arrive on the Xbox One this fall.

Guerilla Games doesn't have much of a reputation to those who haven't played a Killzone game, but their next game on PS4 offers the kind of world that'll command anyone's attention. As with Enslaved: Odyssey to the West, this post-apocalypse isn't a barren desert; it's a lush, overgrown jungle resting atop a collapsed metropolis, and it's absolutely gorgeous. There seems to have been some kind of robot rebellion leading up to this strange future, because wildlife like deer and birds have been replaced by metal simulacrums (that use car alarm noises to call for help).

The trailer gives you just enough time to fall in love with the female protagonist Aloy, who seems as tenacious and capable as Lara Croft. Her arsenal is an interesting mix of old and new: arrows with bullets for heads, spears made from sharpened machine parts. And then BAM - in charge some colossal cyborg dinos, complete with blue lasers and primal screams. Watching Aloy take down one of the beasts with some metal tethers and a stab to its robot heart is enough to make Horizon shoot to the top of your 'most anticipated games' list.

It was pretty great to recognize Angela Bassett as boss Six in the trailer for Rainbow Six: Siege; her likeness was so accurate that it even recreated her distinctive mouth movements perfectly. An actress of her stature joining the game’s cast was announcement enough, but when the woman herself walked out to share the stage with Aisha Tyler to discuss her role, we kind of lost our minds.

Bassett is an Oscar-nominated actress with a 20-year career that’s included turns as Betty Shabazz and Tina Turner, who (unlike so many others) regards her role in a shooty video game with the same craftsmanship that she does any other acting performance. She treated her appearance on Ubisoft’s stage with elegant, effortless grace, giving her digitized role - and the audience that would be enjoying it - respect. Her appearance at Ubisoft’s press conference also put two women of color on the same E3 stage, a sight practically unicorn-like in its rarity. It was a moment of true class in a sea of hype and awkwardness, and we loved it.

I don't know about you, but I spent the first few seconds of Sony's press conference saying, "No, no" with intense disbelief, and the three minutes that followed watching a boy and his giant bird dog explore a temple while trying not to cry. After years and so, so many vaporware jokes, we not only saw The Last Guardian emerge from obscurity, but there was a release date attached to its fuzzy, feathery tail. Does anyone else hear a triumphant music number coming from nowhere?

The trailer itself was fairly calm, showing the unnamed little boy we all remember from 2009 shouting to call his towering Falcor-like guardian. Most of the gameplay involved him moving onto different platforms, manipulating objects to make a new path, and making death-defying leaps of faith with the belief that the guardian would catch him, oh lord please catch him! Yet it was so charming, so beautiful, so lost to us for so long that even that simple bit of gameplay was enough to get us making incomprehensible noises of joy at each other. And then they followed it up with a splash image that simply read 2016, and the tears were unstoppable.

Let me take you on a journey back in time to PlayStation Experience 2014, where Sony and Square Enix pulled one of the greatest bait-and-switch moves in game conference history. In the middle of a long evening of new game announcements and trailers, a trailer was shown filled with the nostalgic images of Final Fantasy 7. 'This is it,' thought literally everyone watching at home. 'This is when that Final Fantasy 7 remake finally gets announced.' The trailer continued: Cloud fighting Shinra's grunts, the Highwind taking flight, and Sephiroth stepping through the fire. Any moment now those visuals were going to change into something new, something modern. A new FF7 was right around the corner.

Except it wasn't. Instead it was a port of the PC version to PS4. We all died a little inside that night. But at E3 2015, Sony and Square Enix redeemed themselves by finally, at long last, announcing the remake Final Fantasy fans have been clamoring for. A new Final Fantasy 7, redone with a fresh visual style, is on the horizon. The internet's reaction can be summed it with one phrase: 'NO WAY!!' followed by 'WAIT, WAIT, NO WAY!!' It was a huge surprise, tempered only by the fact that Sony's press conference was filled with huge surprises.

Nintendo’s been getting pretty good at having some fun with their Directs and Digital Events, but the E3 transformation of Reggie Fils-Aime, Satoru Iwata and Shigeru Miyamoto into muppets - and then into muppet versions of characters from Star Fox - was their most delightful move yet. Nintendo didn’t take the gimmick too far, but did let the muppet hosts stick around for a while, mostly just to dance. It was pure, unfiltered happiness, which is basically Nintendo’s shtick.

It was a perfect reminder amongst the gore and guns of other press conferences that not everything has to be gritty or mature to be fun. Nothing wrong with a well-placed headshot, of course, but the muppets of Nintendo channelled childlike joy that left us grinning. : “You know and I know the warmth you feel whenever there’s a muppet around.” Everything really is better with muppets.

Sony's press conference was filled with games we had long-suspected of being vaporware, but arguably more surprising was Yu Suzuki taking the stage to reveal Shenmue 3. Okay, so it was to reveal a Kickstarter for Shenmue 3, but still. While The Last Guardian and a Final Fantasy 7 remake were at least churning in the rumor mill, the revival of Shenmue came completely out of left field.

Chills are still running up the arms of Dreamcast diehards and Shenmue supporters the world over, and financial pledges for the Shenmue 3 Kickstarter have poured in at a rate that's shattered records (and looks poised to overtake Bloodstained as the crowdfunding platform's most-funded video game project). Hearing that beautiful orchestral theme again, it's hard to blame fans for getting swept up in the moment.

When Bethesda finally pulled the lead-lined curtain off of Fallout 4, I was satisfied. It looked great, but after years of waiting to hear even the slightest peep about the next game in one of my favorite series, I was ready to keep waiting until next year to actually play it. After all, there was a ten-year wait between Fallout 2 and Fallout 3, right? Waiting ‘til spring or fall 2016 would be nothing next to that.

But Bethesda decided to get the whole thing out of the way at once, announcing a Fallout 4 release date of November 11. It makes sense in retrospect, since Skyrim, Bethesda Game Studios' last big project, shipped three years ago. That's plenty of time for a big, seasoned studio to get another project together, I just… just wasn't ready to get my hopes up for it. Sniffle.

When Nier New Project director Yoko Taro took the stage at Square Enix's press conference, it felt like a fractured dream after hours of restless tossing and turning. Square Enix's press conference was easily the most boring of the lot, long on time and short on announcements that weren't already announced the day before, but then… there was that helmet. And everybody watching who hadn't played Nier - which was a cult hit at best, so a lot of them - had no idea what was happening.

See, the helmet was a replica of Emil's weapon-form head from the original game, but nobody said anything about it. They didn't even acknowledge it was there, letting Taro deliver a standard "please look forward to it" speech as if he didn't have a terrifying Majora's Mask reject sitting on his scarf-wrapped shoulders. Which he did... unless it was just a mass delusion. Actually, it might have been a mass delusion.

Every year, the E3 press conferences serve as the bombastic kickoff to a festival of big-budget games and indie innovators. This is where all the megaton reveals and announcements will happen; where developers, CEOs, and celebrities alike will take the stage and delight the audience with snappy or slightly awkward banter. And E3 2015 had more press conferences than usual, with a few newcomers joining the fray. But like gladiatorial combat, the real question on people's minds is: who won?

Every press conference had something great to offer, but some simply had more greatness than others. We've gone ahead and ranked all the press conferences, minus the (GR+ is owned by the same parent company, so we'd be contractually obligated to give them first prize). So, which press conference stood triumphant during E3 2015? In our minds, the ordering goes something like this...

The Square Enix press conference had the air of a Japanese investor meeting, which isn't necessarily good or bad. Everyone on stage was polite and calm, moving from one game demo to the next with minimal fanfare - a stark contrast to the whiz-bang theatrics of most other press conferences. There were a few gaffes, like a translator who seemed to be asleep at the wheel and an enthusiastic Kingdom Hearts fan who realized too late that he was cheering for the wrong trailer. But man, Square Enix has it where it counts: the games.

Any mention of the Final Fantasy 7 remake gets our hearts aflutter, the teacup attack in Kingdom Hearts 3 is a winner, and the tweaks to Hitman's assassination sandbox are definitely intriguing. Plus, the cult classic Nier is actually getting a sequel, something we never would've expected in a million years. And we'll never, ever forget the surreal weirdness of a presenter with a skull mask on, and absolutely no one in the room acknowledging it.

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Electronic Arts has a heavy burden: the need to show off a slew of sports games to an audience that, let's face it, is largely apathetic about Madden, FIFA, et al. Not only that: everybody watching had their hearts set on some in-game Star Wars Battlefront footage, and EA knew it. That made it all the more difficult to sit through Pele's absent-minded musings about 'the beautiful game', or a Minions mobile spin-off.

Of course, none of those somewhat dull moments seemed to matter after the glory of the Battlefront footage. Watching soldiers shoot their way through the trenches of Hoth looked incredible, and the shifting perspectives gave a great view into vehicle handling as well. And that ending where Luke and Vader clash... we got chills. Besides getting to see our nerdy lightsaber duel fantasies realized, Unravel looks adorable, Mirror's Edge: Catalyst seems like it'll have glorious amounts of freedom, and Mass Effect: Andromeda showed just enough to get us interested.

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We get the sense that E3 is becoming more and more irrelevant to Nintendo, and you can tell by the fact that its biggest surprises - the unexpected arrival of the unreleased NES EarthBound and Ryu's appearance in Super Smash Bros. - were announced on the Sunday before the big Nintendo Direct. Thanks to Nintendo's unique videos, they can announce whatever they want, when they want, and they don't have to be tied to E3 to do it.

That's not to say there weren't things to get excited about during the Tuesday Direct. We saw the first footage of Star Fox Zero, the reveal of a Paper Mario/Mario Luigi RPG mash-up, and a new multiplayer Zelda game on 3DS, and all of that looks great. There are even going to be Skylanders figurines for Donkey Kong and Bowser that will act as amiibo when you twist the base - a pretty big surprise, especially coming from a company as protective of its characters as Nintendo. Long-awaited titles like Xenoblade Chronicles X and the fantastic-looking Super Mario Maker finally got release dates, too. Nintendo's actual E3 conference may have been a bit lacking, but when you combine it, along with Sunday's announcements and the World Championship, Nintendo's E3 wasn't too shabby. Plus, it had Nintendo Muppets. And that's pretty great.

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Ubisoft didn't pin all its hype to one or two games - it spread the love across a diverse collection, which is great. By now, we know to brace for a few awkward moments when Just Dance hits the stage (this time with some off-key singing courtesy of Jason Derulo, aka Blueshirt McSingguy, aka Mikey '2Tyte' Jeanz), and some stilted recreations of actual conversations during multiplayer sessions. But any Derulo downers were offset by Aisha Tyler's charm, and Ubisoft had something for everyone with its game showcase.

Two surprise announcements stood out in particular: Ghost Recon Wildlands, a drug-busting take on the tactical shooter, and For Honor, a PvP battle between history's deadliest warriors. The tense multiplayer of had us enraptured (even with all the scripted teamchat), with Trackmania, Trials Fusion: Awesome Levels Max, and South Park: Fractured But Whole rounding out the strong showing. We could've done with some more Evie and/or gameplay for Assassin's Creed Syndicate, of course.

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Kinect was a no-show, there was no mention of apps, and there was nary an Usher in sight - Microsoft in 2015 is leaner, meaner, and all about games. There were the expected heavy hitters, of course, and Halo 5 and Gears 4 certainly didn't disappoint, but it was all of the little surprises that added up for Microsoft in a big way.

Backwards compatibility was Microsoft's bombshell announcement of the show. It doesn't seem like much, but when it feels like everyone's essentially written off the concept with this generation and doubled down on re-releases, seeing a big publisher find a way to get older games to work on its current hardware is a pretty fantastic move, and it'll be a great way to get more people to leave their 360s behind. Speaking of re-releases, Rare Replay shows the right way to go about it, packing in 30 classic and contemporary Rare games in one package for $30. Rare's even making a brand new game, and it's all about pirates! Microsoft also unveiled a unique spin on early access, letting potential buyers actually try a demo before they spend money on an unfinished game (what a concept!). And last but surprisingly not least, Microsoft HoloLens made an impressive showing with Minecraft (of all games). A solid show from Microsoft.

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This E3 marked the first time Bethesda has ever hosted a press conference, but you wouldn't be able to tell by watching it, as the publisher took the stage with a confidence and presence like they'd been doing this for years. Bethesda's conference boasted no frills, no nonsense, and no gimmicks - just a solid 90-minute block of fantastic-looking games.

Doom is shaping up to be a wonderful blend of old-school and modern game design, with fast-paced, fluid gunplay, ridiculous hellbeasts, and the newly-announced Snapmap allows for players to make and share their own levels and games. Dishonored 2 is coming next year, and bringing along a surprising new protagonist with Emily Kaldwin. But the big surprise here came from Fallout 4 and its November, 2015 release date. Bethesda kicked off E3 in spectacular fashion.

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Sony doesn't have a huge first-party lineup slated for 2015, instead relying on Batman, Destiny, and a slew of indie games to satiate PlayStation Nation’s hunger for games. And no, Sony didn't do much to tell us differently at its E3 conference. What it did do, however, is announce the arrival of three particular games - games that have long stoked the dreams of many a PlayStation fan.

Sony opened its show with The Last Guardian, reintroducing Team Ico's lost game to the masses, and revealed a 2016 release date to go along with it. Fans have also been clamoring for a Final Fantasy 7 remake, and have repeatedly been told no - until Sony unveiled a trailer confirming its existence. Then they gave the stage to Yu Suzuki, creator of the cult-favorite Shenmue series, and announced a plan to crowd-fund the closure that fans have been craving for years. Oh yeah, Sony's also the new home for Call of Duty, yoinking it away from Microsoft in dramatic fashion. An impressive gameplay demo for Uncharted 4 closed one of Sony's best conferences in years - , this is one for the history books.

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During just yet.

Remember, this is just the beginning, and more publishers should be jumping onboard with support for their libraries in the coming months. But we recommend tempering your expectations now, because unless you were dying to play Hexic HD on your Xbox One, some of these picks will be as exciting as day-old toast.

For the first time, Bethesda put on its own E3 press conference and put the focus on a handful of fantastic-looking games. Bethesda showed off some footage of Elder Scrolls Online, and Battlecry (mostly to remind us that these things exist), and all we got of Dishonored 2 is a CGI trailer, but hey, at least we know that game is really happening. But we also got to see some fantastic footage from the new Doom and Fallout 4 - and we even found out Fallout 4 is coming out this year! How cool is that? Now that the show is over, it's time to review what we just saw. With that, welcome to our recap.

If you missed out on the announcements, worry not. We watched the entire thing, wrote a bunch of news articles about it, and summed up everything in one place - basically, all the cyberdemons, Pip-Boys, and Dishonored goodies you could ever want. All you need to do to catch up is scroll through this gallery. So go ahead, get all of the most important information from the Bethesda press conference on the following slides.

Doom has never looked this fast or fluid before. An extended gameplay demo showed off what looks to be some kind of space base or factory over-run with hellspawn. The biggest thing to take away is the fluidity - it almost turns into a ballet of blood and bullets as the player deftly maneuvers around the the corridors, clambering onto platforms, and exploding enemies into so many ludicrous gibs. And the game never seems to skip a beat, maintaining an almost hyper-realistic level of smoothness - even when time slows down when you select a gun from the weapon wheel. There's also incredible levels of detail, whether you're looking at a high-res monitor or the etchings on a new shotgun. Classic weapons return, like the plasma rifle, and the chainsaw - and yeah, it's as gory as you think it is, with demons splitting in half like a knife through butter. And you've even got finishing moves that let you rip an enemy's face apart.

It's Doom, so it's gonna get multiplayer, but you're also not limited to what multiplayer modes and maps that Id has cooked up. lets you create own competitive and co-operative multiplayer game types, and it looks like there's going to be a ridiculous amount of variety for you to dig into. You can start from predefined modes or make full custom games by editing the map layouts, the item placement, and even the game logic to make your own game-within-a-game.

It'll be hitting Xbox One, PS4, and PC some time early next year - , according to Bethesda - and it's bringing back the classic weapons and shooting you love, with a few modern twists. We're talking, of course, about the giant green plasma shots of the unmistakable BFG.

For the first time, Bethesda is putting on its own E3 press conference. With all of the buildup of having a making an appearance, Bethesda really set out to build anticipation for its presentation and make a huge impression. Now that the show is over, it's time to review what we just saw. With that, welcome to our recap.

If you missed out on the announcements, worry not. We watched the entire thing, wrote a bunch of news articles about it, and summed up everything in one place. All you need to do to catch up is scroll through this gallery. So go ahead, get all of the most important information from the Bethesda press conference on the following slides.

Doom has never looked this fast or fluid before. An extended gameplay demo showed off what looks to be some kind of space base or factory over-run with hellspawn. The biggest thing to take away is the fluidity - it almost turns into a ballet of blood and bullets as the layer deftly maneuvers around the the corridors, clambering onto platforms, and exploding enemies into so many ludicrous gibs. And the game never seems to skip a beat, maintaining an almost hyper-realistic level of smoothness - even when time slows down when you select a gun from the weapon wheel. There's also incredible levels of detail, whether you're looking at a high-res monitor or the etchings on a new shotgun. Classic weapons return, like the plasma rifle, and the chainsaw - and yeah, it's as gory as you think it is, with demons splitting in half like a knife through butter. And you've even got finishing moves that let you rip an enemy's face apart.

It's Doom, so it's gonna get multiplayer, but you're also not limited to what multiplayer modes and maps that Id has cooked up. Doom Snapmap lets you create own competitive and co-operative multiplayer game types, and it looks like there's going to be a ridiculous amount of variety for you to dig into. You can start from predefined modes or make full custom games by editing the map layouts, the item placement, and even the game logic to make your own game-within-a-game.

It'll be hitting Xbox One, PS4, and PC some time early next year, and it's bringing back the classic weapons and shooting you love, with a few modern twists. We're talking, of course, about the giant green plasma shots of the unmistakable BFG.

On the Media's is a frank, concise set of guidelines to remember whenever you're trying to parse developing events from the modern diaspora of information sources. Of course, confusing, conflicting sources aren't nearly as common in video games, where much of the story proceeds in an orderly fashion based on whatever information game companies decide to dole out.

But that doesn't mean you should take everything you see at face value. Inspired by OTM, I’ve decided to offer some tips to help you rise above the hype cycle, starting with its dubstep-throbbing heart: trailers. By the time you're done with this guide, you'll be ready to enjoy E3 - which is like Christmas, New Year's Eve, and a stock market opening ceremony rolled into one for hype - with high hopes and pragmatic expectations.

Pre-rendered trailers have been a fixture of video game marketing for decades, but up until recent years they've been more of a proof-of-concept than a potential source of confusion. Unfortunately, as gaming visuals creep closer and closer toward photo-realism, it's become easier to mix them up with actual scenes of gameplay, or at least to conclude that they're real parts of the game with an extra layer of post-production polish.

That's not a safe assumption, and trying to draw any conclusions about a game beyond basic stuff like "this is what the protagonist looks like" and "she fights with a gun / sword" from a trailer produced by people otherwise uninvolved with the game is a bad idea. Watch this to get a better feel for what state-of-the-art CGI trailers can look like.

Even if you're certain that you're seeing a game in motion, don't assume it's the game you'll actually get to play. Much can change between an impressive reveal video and release, as was infamously demonstrated by Watch Dogs: the actual game, which released in May 2014, was notably than the live demonstration Ubisoft gave two years earlier.

It's unlikely that Ubisoft was actually trying to deceive anyone with that first gameplay demonstration. But the subtle elements that make those kinds of visuals so impressive, like soft, ambient lighting, are also the first to fall when developers need to wring more performance out of uncooperative hardware (Watch Dogs' gameplay debuted before new-gen hardware was even locked down). Those little touches can make a big difference to your gut reaction, but try to focus on the bigger concepts for a more accurate - and less potentially disappointing - impression of the final product.

Marketers love to frontload trailers with scene-setting material: expository voiceovers, extreme close-ups on impressively rendered woodland creatures, slow panning shots of the hero's new and improved equipment. That's all fine if you're already invested in the game and are eager to see every little detail, but for everybody else, it means a lot of sitting around and hoping the interesting part will start soon.

Don't just wait for it to come to you! Instead, take hold of the scrub bar and skip to the last minute - that's where the actual game is likely to be hiding. At that point most trailers have gotten all their stylistic exposition out of their systems and are getting to what's actually going to be in the box. The last minute is also where you'll find pertinent details like a release date or console exclusivity (or pre-order bonuses).

It might feel like every big game of this generation has missed its release date by at least a month, but that isn't the case. Series like Call of Duty, Madden, and Assassin's Creed have a strict yearly schedule to adhere to, and while they might shift a few weeks from time to time, you can usually count on them to release like clockwork - relatively speaking. But if the game in question isn't part of an annualized franchise, then, well, don't go planning important life events around its release date.

Many factors dictate whether a game will be delayed and how long it may be pushed back. But a delay of six months is a good, cautious estimate to keep in mind: it's long enough for the developer to apply plenty of polish, and for games that were meant to hit the holiday rush to ship in the increasingly competitive spring months, or vice versa. If no date is mentioned at all, don't anticipate a release within the year.

Trailers will often throw out a few dozen quotes with positive-sounding phrases like 'breathtaking' or 'a must-play' in rapid succession, trying to give you the impression that the game has received unanimous praise from critics. But it's a good idea to apply some skepticism to whatever marketers tell you about their product, even when they quote a publication or person you trust to make their point.

Thankfully, you can still learn a lot from the 'acclaim', even if it's not quite what the marketers intended. Are the quotes mostly one or two words, or do they use a lot of ellipses? If so, the source of that quotation probably doesn't sound quite as congratulatory when read in full. On the other hand, if you don't recognize any of the sources - or perhaps you do, but not for their game coverage - you can conclude that the people cutting the trailer had to widen their search a bit to find positive snippets.

Rather than setting up important characters or events, some trailers are intended more to establish a certain tone. Dead Island's famed did little more than tell you that this is a game on an island with zombies in it, but its shocking imagery and reverse-spliced chronology did a phenomenal job portraying a bleak, hopeless atmosphere. Unfortunately, Dead Island's zombie-slaying loot-em-up action did little to follow through on that tone. That's an extreme example, but many other games have had their thematic ambition (or lack thereof) shown up by their own trailers.

On the other hand, if you find the video's tone immediately off-putting, you can go ahead and take it as a red flag. For instance, this , which (when it's not awkwardly cackling) talks about mixing hot sauce and testicles, was fairly faithful to the feel of the game itself. That is to say, pointlessly vulgar and lewd.

remains one of the most surprisingly impactful trailers ever made. It's attracted plenty of imitators since it first aired in 2006, many of whom took cues from how it introduced Marcus Fenix as both vulnerable and an ass-kicker, and the world of Sera as a place of broken beauty. Unfortunately, not every unlikely game-and-music pairing works equally well.

The good news is that, if a trailer's doesn't suit your musical tastes, you can pretty safely hit the mute button. Music video-styled trailers almost never include significant dialogue or sound effects, and when they do, it's easy to tell from the on-screen action, giving you plenty of time to unmute it.

You can only watch so many gun-wielding characters wage a desperate war against a seemingly insurmountable enemy before they all start to blend together. No matter how well-made they are, trailers released in and around E3 all have a difficult task in holding on to your attention. Rather than distinguishing their games solely through unique gameplay snippets or impressive visuals, some companies choose to add a little something extra around the edges of their presentations.

That's why EA prefaced its introduction of NBA Live 14 with a , a US government study that explored if and how society would break down in the event of a biological weapon attack. These attention-grabbing stunts are usually only tangentially related to the game itself, so feel free to grab a snack or check Twitter while you wait for the relevant part to begin.

By their nature, work on big, fancy trailers has to begin many months before their planned debut. But since huge changes often come about in the span of weeks in game development, that means promotional materials may end up not being completely accurate to the current state of production. Unfortunately, you can't push back the release of an E3 trailer the same way you can push back the actual game (or else it wouldn't be much of an E3 trailer).

Thus, placeholder assets or other outdated material will frequently appear in promotional videos. That was likely at least part of the reason why Middle-earth: Shadow of Mordor's Black Hand of Sauron was depicted as a tall, bald guy with a pointy face and a vaguely English accent in . But when the game launched in September, just a few months later, his nose and chin had receded a few inches, and he'd traded the orc-ney accent for the familiar voice of Nathan Drake, Desmond Miles, and The Penguin - Nolan North.

It feels like Christmas in June around the GR+ offices as each editor eagerly awaits . Our stockings are hung by the chimney with care, in the hopes that President and CEO of Nintendo Co., Ltd., Satoru Iwata, or Phil Spencer, head of Microsoft's Xbox division and Microsoft Studios, soon would be there. Our heads swim with visions of game announcements and release dates; of Master Chief waking from his slumber and Nathan Drake ducking behind some crates.

We're ready for E3, and we hope you are too because this year's show is going to be massive. There are a ton of new games on the horizon - from Kingdom Hearts 3 to Fallout 4; Halo 5 to Forza 6. To help make sense of it all, each editor has selected the one they're most excited to see at the show. Let us know which one you're most excited to see, and join us back here on Sunday (06/11) when the E3 excitement kicks off at the .

Now, I like to think I'm a pretty sensible person when it comes to E3 expectations. I take gameplay footage and previews with a grain of salt, trying to keep my own hype levels in check as much as possible. But I will be filled with all of the joy in the world if I get to see playable at E3 this year.

The Elder Scrolls series has never really struck a chord with me, though I really appreciate the wonder of simply wandering around an expertly-crafted world and getting into as much mischief as possible. That's why I love Fallout - the sardonic spin on 1950s Nuclear Age Americana combined with familiar landmarks and retro-future aesthetics speaks to me in a way fantasy environments like Skyrim just don't. Now, take all of that, the glorious open-world choose-your-own-adventure gameplay Bethesda is known for, tweak the gunplay to make it a bit more fluid, and throw it on new-gen consoles. Yeah. Gimme all of that.

Not only is this certain to be at E3, it’s also guaranteed to provoke a reaction. When the game was properly revealed back in April, many moaned about the lack of drivable AT-ATs, the OP hero characters, and the scarcity of prequel content. My reaction was “Holy shit that looks incredible. Give me this game NOW!” accompanied by a lot of Kermit The Frog-style manic arm-waving.

Why? Aside from the fact it’s freaking Star Wars, and you get to pilot freaking X-Wings or zoom through freaking Endor on a freaking Speeder Bike while lasering holes through freaking Ewoks, it’s made by DICE. Those guys know exactly what they’re doing, having finely honed their multiplayer craft over more than a decade of Battlefield games. For me, its the dream combination of developer and subject matter. And I’m not naive - I know that reveal trailer was all prettied up - but if it’s a fraction as handsome as that, it’ll be a proper new-gen showpiece. Let’s, er, just hope there are no Battlefield-style launch issues, eh…

It’s really happening! Studio Head Rod Fergusson recently announced a name change for Black Tusk Studios to The Coalition, to better represent the team and what they’re working on--. And there will be fo at E3. Last year all we got was a brief flash of a Gears cog, likely to remind us that Microsoft hasn’t forgotten about the franchise. With all this excitement swirling around Halo and Rise of the Tomb Raider, Gears will fit in nicely with the rest of Xbox’s lineup.

Now where will they take the series? Phil Spencer has said the new Gears will return to the darker, grittier tone of the earlier games, which I’m sure anyone who has played Judgement will not complain about. I’m secretly hoping that the new Gears will be about Carmine brothers’ backstory. Who was Carmine’s mom? Maybe the brothers are on a quest to find their father and along the way they find out they have a half-sister. And it’s a point-and-click adventure game! Just kidding. Pass me a lancer, please.

We’re well into the Xbox One’s second year on the planet, and who better than to exploit the power of the console than a first party dev? And, especially one that only does racing games - that specialisation might serve a niche but by the gods of silicon, it’s my favourite niche.

Despite its limitations and nauseating microtransactions, Forza 5 was beautiful, a great technical example of what’s possible. It was also an early step, a very polished proof of concept. Consider the time Turn 10 has had, the lessons the team has learned based not only on its own successes and mistakes, but those made by Forza Horizon 2 developer Playground Games - should be spectacular. It’s no secret the two teams have a pipeline between the two studios. They share data, insights and - here’s where I’m crossing everything - the know-how for a dynamic weather system at full HD and at 60 frames. Ladies and gentlemen, start your drooling.

Want to know how excited I am about ? I just bought an Xbox One specifically so that I can play the best version of it as soon as it comes out. Yes, it is that big a deal and you should be equally excited. In fact, 'big deal' is an understatement when it comes to Microsoft's exclusivity contract with Square Enix for the game. That's a megaton. And I don't think I'll be alone in buying a console specifically to play it. I had started to think the days of buying a console just for one game were over (Titanfall wasn't quite that good), but I'm very happy to be proven wrong.

It does concern me a little that the game will also be available on Xbox 360, as that does suggest the Xbox One version may have been scaled back in order for the game to run on the old hardware. But having said that, there was never any sense that the previous game's scope and content had been reduced to fit on last-gen tech. 2013's Tomb Raider is clearly one of the best games ever made. And the thought of Crystal Dynamics taking everything they've learned from that experience and channeling it into a new-gen focused (if not new-gen-exclusive) experience fills me with excitement. Man, I can't wait.

Let's be honest with ourselves: when Kingdom Hearts 3 finally gets released it's going to be a real hot mess - and I couldn't be happier. It may buckle under the weight of a backstory , but that will only heighten the game's strongest asset: its strangeness. Seeing all the weird interactions that come from mashing together all these disparate styles and characters is what I treasure in Kingdom Hearts.

This might all sound like I harbor some ironic, detached love for the series; that I don't really like Kingdom Hearts, I just like laughing at it. This is not the case. For all their absurdities, the Kingdom Hearts games do an excellent job at nailing the thousands of tiny details that make a good game feel great. I'm talking about the different jingles the keyblades make as they strike an enemy, or the visual flash of Sora's Explosion ability. Are these cheap thrills? Sure, but when you're game has pirate Johnny Depp fighting shadow monsters alongside Donald Duck and an anime character, cheap thrills are A-OK.

I’m going to catch some flak for this - I know I will. But when it comes to cohesion of creative vision and storytelling, I don’t think 343 Industries merely followed in Bungie’s footsteps, I believe they eclipsed them. Halo 4 could have been a disaster, and yet it’s my favorite single-player Halo campaign thus far (just barely edging out Halo: Reach), with a quality multiplayer component as well that … okay, yes, was a stretch too far away from what made Halo multiplayer great, but if the beta is any indication, 343 has learned from those mistakes.

I’m a lore guy. Growing up, I loved to read, and the more fantastic the tale, the better. Halo has a wonderful universe to play around in; one that simultaneously feels epic and impossible, yet grounded and human. I have no fears whatsoever about the quality of Halo 5’s gameplay, and despite the addition of aim-down sights (something I once proclaimed would, if added to the series, make me quit) I quite enjoyed my time with the reworked multiplayer. In the end though, I’m in it for the story, and I can’t wait to see where Chief’s journey goes next.

PlatinumGames is a developer as focused and nimble as its own combat systems. The second-party-dev-for-hire has teamed up with Sega, Nintendo, Konami and Activision, making fast-paced, nonsense-packed action games with a near-perfect hit rate. Now it’s in cahoots with Microsoft, making an Xbox One exclusive about rad young dudes toting swords and Beats by Dre knock-offs while riding dragons. If there’s a better elevator pitch going, I will run to the nearest tall building immediately to hear it.

But, as we Scalebound isn’t at E3. As if in ultra-cool protest, Platinum’s just revealing another brand new game instead. We have no idea what it is. Some are pointing to Vanquish 2, others Metal Gear Rising 2. Whether it’ll be another Microsoft exclusive is in question. Frankly, it doesn’t matter to me - this is a studio that’s casually knocked out some of the best games of my lifetime, no matter who it’s nominally working for. Whatever the game turns out to be, it’s likely to be my favourite game at E3. Because Platinum.

A few months ago, I got a glimpse at the enigmatic , a game that falls into the same exploring-empty-environments category as Gone Home and Dear Esther. While it may look like Rapture is treading ground that should probably be paved by now, there's something special about it that won't leave my mind, and I'm excited for the possibility of it showing up at E3.

Without giving away too much, it's clear that Rapture's charming country setting is covering up some terrible past mishap that didn't leave much of a mark. One spirit tells another that her husband went upstairs an hour ago and hasn't come down, but all you find on the next landing are some bloody tissues. You find a man praying in a church before something happens to him; though you don't know for sure what you've seen, there are enough hints to give you an idea, and it's horrifying. Every moment in the town a mix between peace, uncertainty, and sinking realization, and it has a way of making you feel alone in knowing the truth. I want to see even more of that strange town at E3, but I also want to see other people witness it for the first time. Then we can all be alone together.

Aside from being a secret Sonic the Hedgehog game (shhh, don’t think about it too much), Mirror’s Edge is my favorite kind of AAA production: flashy, bold and uninfluenced by conventional wisdom. This means plenty of pitfalls en route to the ending, but a refreshing and stubborn adherence to ideas that might not ‘play well to the audience.’

I hope DICE can strike a better balance in its return to Mirror’s Edge, now dubbed “Catalyst.” I want them to stick to their guns - which is to say, not have ANY guns - and elaborate on the best thing about Mirror’s Edge: the sense of inhabiting a fleet-footed body, and to know where all your limbs are in a beautiful 3D city. The game is about holding your breath before the next vertiginous vault - a moment that deserves to be explored more fully alongside Faith, an interesting heroine who never really got the origin story to match her bounding mystique.

If I don't see at least one Cacodemon during E3, I'll be devastated. Those horned, grinning, cyclopean monstrosities are what evoke my fondest memories of blasting my way through E1M1 on my dad's office computer, or going on shotgun sprees in Doom 2 with just a keyboard (no mouse-look required). The Revenant from the recent looks nice, but what I'm really amped up to see is a floating red orb of demonic death barfing out giant fireballs in 1080p.

And there might be an added bonus to Doom's spotlight during , depending on whether or not id's John Carmack is invited to speak onstage. I've heard tell of Carmack's uncanny ability to spout a continuous torrent of unscripted, uber-intelligent commentary, but I've never witnessed his robot-like streams of genius consciousness for myself. It may not be quite as riveting as gameplay footage of Doomguy demolishing an Imp's innards with a rocket launcher, but I'd still be pretty stoked.

It's no secret that I'm totally obsessed with everything Destiny. I've played the game just about every day since launch and plowed through every raid, strike, and mission. With the release of the House of Wolves expansion, there are even more reasons for me to return to our futuristic solar system to stamp out the Darkness and defend the Light. So, when there are rumors swirling that Bungie is going to announce the details for a new, massive expansion at E3, you know I'm about to get hyped.

Some of the details on the . The next expansion is coming on September 15, there's going to be a new Raid, and all of the classes will be getting a new subclass. All very exciting information. And if it all ends up being legit, E3 is going to be quite a treat. I just need to get a glimpse of the new Void bow ability for the Hunter class and I'll be happy.

Before I got a 3DS, my interest in Fire Emblem began and ended with the Smash Bros. roster. I'm not much for tactics - observe how shamefully I saved and reloaded through XCOM, abandoning the campaign once seeing into the future was no longer enough to keep my troops alive - and I usually don't have the patience to play through sprawling JRPGs. But I gave Awakening a shot just to have something in my cartridge slot aside from Super Mario 3D Land, and I found one of my favorite games in years.

Nintendo hasn't told us Westerners too much about Fire Emblem If (or even confirmed whether that will be the title outside of Japan), but it seems to make some pretty big changes to series fundamentals: a new set of weapons added to the rock-paper-scissors style vulnerability system, throwing out weapon durability, letting you build your own castle - not to mention introducing two distinct armies and storylines to choose between. Maybe if I wasn't such a recent Fire Emblem convert I'd be more disturbed by all of If's changes, but I can't wait to see how they all play out.

Look, I know that it’s really unlikely that we’ll get more than a brief glimpse at during the show. The Persona of the moment is Dancing All Night, which I’m also super stoked to play, but I’ll take any shred of information about the next vehicle for fusion, dungeons and steak croquettes. A 30-second video. A character name. A costume. I’ll lap up any crumb of information I can get and consider it a feast.

What Persona 3 did well, Persona 4 perfected. A seamless blend of the fantastic and the mundane, both games pushed expectations for characterization and gameplay for JRPGs, with stylish characters and catchy tunes. Both games swap the typical world-saving teens that typically populate JRPGs for more relatable heroes, as concerned with defeating enemies as they are with passing history class. They also touch on serious issues like loss and identity in immensely personal ways, avoiding the temptation to wallow in melodrama. They’re two of my most-played and most-beloved games, so I’m eager to see what new ideas Persona 5 presents. And no, having Jack Frost in it doesn’t count.

Okay, I was already very, very excited about . And now I’m eveb more excited. Because while I’m months and years off really getting deep into the game, I already have a sense of the kind of Street Fighter it’s going to be. And ye gods, is it enticing.

Street Fighter 5 blows the doors off the series overarching fighting philosophy. Gone is the focus on, er, Focus Attacks and Ultras, which opened up high-level play in SF4 while also funnelling it in a specific set of directions. Replacing it is a madly eclectic approach to even stalwart characters, iconic moves remixed or removed entirely, fighting styles switched up completely, and crucially, everyone now has an utterly unique technique, many of which would support an entire fighting game on their own, making for insanely asymmetric, but so far utterly balanced, freewheeling, anything-can happen fights. A Ryu who can parry anything vs. a torpedo-less Bison who can catch fireballs and throw them straight back? It might look like business as usual, but it plays like nothing you’ve ever seen before. More. I need more, now.

. The focal point of the year for All Of Games. The lunatic party-festival that shapes the climate and the excitement for all of us, wherever we are, for years to come. It gets bigger every year, it gets better every year, and with this new generation really starting to hit its stride, surely this year’s has the potential to be the best yet, right?

Well of course it does. But there are some things it almost certainly won’t have. Some things that, when you’ve been through enough E3s – whether present or not – you start to miss. Things E3 used to do, and used to represent, that either don’t exist now, or have been moulded into rather different, modern formulations. We’re not just talking about the fact that we were younger and more springy back then, because that’s just stupid nostalgia. And we’re certainly not talking about the higher ratio of booth-babes in the old days, either, because that’s just stupid. No, these are the things, silly and important, concrete and abstract, that used to really define old E3s. 2015 will be a great show, but we can’t help wishing that they’d just bring back…

Okay, this one is probably partly informed by us just plain missing the pre-Wii Nintendo that was, but goddamnit if Ninty’s real, on-stage E3 appearances didn’t feed directly into the company’s greatness back then. As brilliantly endearing as Iwata’s performances are in the modern Direct broadcasts (and seriously, they are; anyone who’s never felt the compulsion to do one of his little hand gestures while saying the d-word in everyday conversation categorically has no soul), the videos’ edited, contained nature just can’t compete with a bona fide Nintendo press conference.

Nintendo fans, for better or worse, are rabid like no other. When you cram a thousand of them into one room, for an audience with the Great Ones, you get a giddy, deliriously goofy atmosphere you just will not find in any other conference. And Nintendo knew exactly how to play up to that. Reggie’s comic, on-screen persona these days is great, but the loveably meatheaded, natural badassery that led to the caricature was even better. And let’s not forget that whatever games were announced, the highlight was always the perfectly-teased appearance of a live Miyamoto, just as giddily goofy himself, and entirely unafraid to brandish a Hylian Shield without a hint of irony. A crowning moment of awesome each and every year.

‘Last days of Rome’. That’s the best way to sum up Activision’s brief run of ludicrous ‘Just because we can’ parties at E3. Ludicrously decadent, immensely more lavish and star-studded than they ever had any need – or justification – to be, those gigantic nightclub-cum-concert-cum-circus affairs would have been offensively grandiose if they hadn’t been so grandiose as to be delightfully stupid.

The peak arguably came in 2010, when Activision’s ‘conference’ hosted the likes of Eminem, Usher, Rhianna, Deadmaus, Pharrel Williams and Soundgarden. The epoch-making line-up of games that warranted such a show? Tony Hawk: Shred, Guitar Hero: Megadeth, and True Crime: Hong Kong. The last of which you might remember was eventually released by Square-Enix, as Sleeping Dogs. A party worth every nonsensical penny, then.

E3 is a fantastic spectacle these days, and a great reason to be smug about being into games. For a week, the entire press, mainstream and otherwise, has its eyes on us. We are championed. We are reported on feverishly. We are exciting and we are massive. But that global, blanket attention has a flip-side. In having to cater for such a huge spread of reporters with such eclectic audiences and angles, the big companies have got a bit safer about things.

There was a time back in the day when console reveal stage-demos were performed not by developers, or well-choreographed party-bots, or pre-canned footage, but by on its booth, and handed out beer mugs and condoms, because why the hell not? There was time when the biggest party in the games industry felt more like a big-budget nerd-fest than a slick, business tentpole run by polished, perfectly coiffed men in suits. Obviously E3 is better now, in many ways. And obviously its current set-up is better for the industry. But damn, it was fun when it was a bit scruffier, too.

These days, you tend to go in knowing the rough shape of the big three's announcements. Nintendo will play around with an old franchise or two, to varying degrees of effectiveness, announce a few cool-but-nebulous things that are ages off release, and then talk about cool-but-obscure Japanese games and 3DS faceplates. Sony will showcase a mixture of visually stunning AAA, emotive narrative, and indie invention. Microsoft will bring the explosions, the Call of Duty demos, a couple of token attempts at eclecticism, and otherwise perform a slick iteration on its 360 glory days, with additional garnish. That’s great. Everyone has their identity locked in, and the big three are catering to very specific audiences who love their stuff.

But check out Ashley’s highly completist, highly eclectic of the games of E3 ’95. Nintendo brought gory fighting games, platformers, the Virtual Boy, Earthbound, and goddamn Doom. Sega dropped the Saturn, and showed it off with Panzer Dragoon, of all things. Sony had Wipeout and Tekken sitting right next to the original Legacy of Kain. Yeah, the 2D one. Old E3 was fricking nuts, and you never knew what you were going to get. Hell, let’s not forget that the Saturn was announced as available to buy that day during Sega’s conference in ‘95. Okay, it turned out to be a terrible idea, but still. Surprises! And speaking of which…

This might be rose-tinted bullshit talking (hey, it’s fertile ground, they’d grow well), but old E3 used to feel more surprising even beyond the eclectic weirdness on show. You see there was also the delightful way that the internet used to not go out of its way to try to spoil every announcement weeks in advance, like a big excitable puppy who is also a gobshite.

I remember back in the solely print and page days, the E3 issue of any good games mag was like opening up a paper Christmas from a mad sci-fi future. Even with access to faster reporting later on, the conferences maintained their status as megaton surprise-bombs for quite the while. Until, that is, the internet decided that nebulous insider sources and slow, dribbling leaks were more fun than having several solid hours of unexpected amazement thrown in its face. Even when leaks turn out not to be true, they deflate things. Even the most clearly deceitful extravagance adds a special kind of mad hope, making the ultimate truth of a conference disappointing, however great it is. , but if Alex isn’t announced at E3, that’s all anyone’s going to be talking about.

This is the big one. In fact, in spirit, it probably encompasses pretty much all of the prebious. The source of old-school E3, if you will. The natural spring, blurting forth that particular kind of fun in its raw, unsullied form. I’m talking about pure, unrefined, ‘90s rad. You know instinctively what I’m talking about. It’s appearing in your mind right now, not as cogent, specific thoughts, but as an electrifying blur of colours, sounds and feelings.

Most of those colours are variants on neon pink and green. Most of those sounds are triumphant yells of ‘Awesome!’ while things explode, blue electricity crackle, and all manner of vibrant goop squelches around in the background. And the feeling? Nothing but the most strident, exciting, summertime 'Hell yeah'. Games were back in the day. And games marketing really was. And so E3 really, really was. Screw it, if we’re getting back The X-Files, and Twin Peaks, and Power Rangers, and Teenage Mutant Ninja Turtles, and Doom, I’m starting the campaign to Bring Back Rad right here and right now. If anyone needs me, I’ll be digging out my old Hypercolor t-shirts with an immense sense of righteous vindication.

You feel that in the air? The constant buzzing of press releases and hype trailers? It's E3 season, and that means it's time to get excited once again about the future of video games. Usually, the E3 lifecycle works like this: watch a trailer and some gameplay footage for a hot new game at E3, get really excited about it, wait about a year or two, then finally walk to your local store and pick up a copy of the game.

Sometimes, though, games get stuck at the 'waiting' step and never find a way to get out. Time continues to march on, E3s come and go, and these games either disappear into the aether, or get cancelled outright, leaving behind a video or two and brief demo a handful of people actually got to try. So let's gather ‘round, reminisce on promises left unfulfilled, and pour one out for these E3 vaporware games.

When the Wii was originally unveiled at E3 2006, Nintendo also showcased an array of games that would make a case for its then-unheard-of motion controls. Look at all these beautiful people flailing the Wii Remote around as they wield a virtual sword, baseball bat, or hammer! And while demoed games like Red Steel, Wii Sports, and The Legend of Zelda: Twilight Princess saw the light of day, it was Project H.A.M.M.E.R. that was doomed to get the axe.

In Project H.A.M.M.E.R., you would play as a burly dude covered in power armor, and your objective was to swing around a massive sledgehammer, obliterating every enemy and object in sight. That seems to be about as far as the dev team got, as the game was considered "paused" as of E3 2007. While not officially cancelled by Nintendo, it's been nearly nine years since its initial unveiling, so make of that what you will.

Some console names are a bit strange (seriously Nintendo, the Wii?), while others are a bit more obvious, perfectly encapsulating what the machine is and does (like the PlayStation). But no name is more perfect than The Phantom, a console developed by Infinium labs that, other than brief showing at E3 2004, never saw the light of day.

The Phantom was a console developed by Infinium Labs (rebranded as Phantom Entertainment in 2006). Revealed in 2003 then arriving at E3 in 2004, the idea behind it was, at the very least, ambitious. For under $399, The Phantom was to be a PC that hooked up to your TV like a console, letting you download and install games directly to the device via the internet. It was essentially a Steam Machine before Steam was even a thing, but release dates came and went as the machine's release ended up pushed beyond 2005, finally removed from Phantom Entertainment's website in 2006. Perhaps the world just wasn't quite ready for a living room PC solution, but at least there's a silver lining to this story: Phantom Entertainment still exists, and - a couch-based keyboard originally designed for the The Phantom console.

Exclusives are important for any console manufacturer. Each box essentially does the same thing, so you have to give people a reason to buy your machine over the competition's. So when Sony announced in 2007 that a game from the studio behind Grand Theft Auto was coming exclusively to PlayStation, it was perceived as a big get for the company that sat firmly in second place.

It's unfortunate, then, that the only official image we've seen of the game since its E3 unveiling was the logo. A few screenshots have leaked out since then, and publisher Take-Two still claims that the game is in development. Rockstar Games is known for taking its sweet time developing games, but eight years on a single game is a bit much.

The 21st century hasn't exactly been kind to LucasArts. For every Knights of the Old Republic, there was a Star Wars Kinect; for every Mercenaries, there was a Fracture. It wasn't exactly a surprise when LucasArts effectively ceased operations in 2013 following Disney's acquisition of basically everything George Lucas owned. But it was still a shame - especially because it meant cancelling the one project that could have put LucasArts back on the map: Star Wars 1313.

Starring a young Boba Fett, Star Wars 1313 would have followed the bounty hunter's first adventures, and made it out to be a third-person shooter filled with heavily-scripted set-pieces, similar to Uncharted. Except, y'know, it's Star Wars. While the demo looked promising, 1313 was officially canned a year later, as LucasArts laid off the majority of its staff.

Some games are lucky enough to escape their vaporware fate, and there's probably no greater turnaround story than Prey, that somehow actually turned out alright considering the circumstances. Unfortunately, its sequel didn't end up so lucky.

While a sequel was reportedly in development shortly after the first game's release in 2006, it wasn't officially unveiled until 2011. Taking place after the events of the first game, Prey 2 would have followed the adventures of US Marshal Killian Samuels, a single human living among an array of alien races, hunting bounties and earning cash to survive. Prey 2 made a showing at E3 that year, but shortly after, rumors began to swirl about its cancellation. Bethesda continued to deny rumors until 2014, when Bethesda VP Pete Hines confirmed that development on the title had ceased.

So Nintendo struck paydirt with the Wii, and games like Wii Fit and Wii Sports flourished with an audience who would have never thought to pick up a gaming console in their lives. In an effort to keep that gravy train rolling, Nintendo wanted to create a controller that everyone could use, a controller so simple, all you have to do is put your finger in it and sit there. Enter the Vitality Sensor.

In an ideal world, the Vitality Sensor would have gathered the player's biometric data (namely, their pulse) and the game would then take that data and react accordingly. But despite an initial announcement by Nintendo CEO Satoru Iwata at E3 2009, the device essentially disappeared without a trace. It wasn't until 2013 that Iwata confirmed why this strange peripheral never got released: turns out, it only worked for . It doesn't sound like that big of a gap, but when ten percent of the people who buy your product are returning it because they think it doesn't work, it's probably best to shelve it.

Peter Molyneux is basically the Willy Wonka of game design - except Molyneux's Fizzy Lifting Drinks don't do much more than taste like an off-brand Sprite and give you a slight caffeine buzz. Not that he makes bad games; it's just that they end up kind of pedestrian in comparison to the pie-in-the-sky promises that he makes leading up to their release. And there's perhaps no greater example than Molyneux's ability to over-promise and under-deliver than Project Milo.

The idea (as these things tend to go) looked promising, as you interacted with a virtual young boy with voice and hand gestures via Kinect, and the boy would react to your statements and change over time. It all sounded a bit too good to be true, especially considering , despite Molyneux's insistence to the contrary. Considering Molyneux's departure from Microsoft in 2012, it's doubtful this project will be completed.

You'd be forgiven if you don't remember the original Phantom Dust on the Xbox. Even though it was developed by Microsoft Japan, it's still pretty niche, combining third-person action, card-collecting, and multiplayer arena battles. Microsoft's been on a rebooting kick lately, taking old properties that the publisher owns and getting other studios to remake them for Xbox One. Phantom Dust was the latest to supposedly get the treatment, complete with an E3 2014 trailer.

But within a year of its announcement, the studio behind the remake , leaving the ultimate future of Phantom Dust in question. Microsoft has stated that they are committed to the title and that development still continues, but it's probably going to be another couple of years before we ever see anything about this strange hybrid again. I suppose getting shut down quickly is better than getting strung along for years, but still - that was fast.

Las Vegas, that strip of hedonism and hubris out in the middle of the desert, has never really been immortalized in video games (though Fallout: New Vegas gets it pretty close). There are casino games, sure, but there's never been been a game that fully encapsulates the celebrity DJ/bottle service/$7.99 all-you-can-eat buffet experience that Las Vegas is really known for. And thanks to the cancellation of This Is Vegas, we're going to have to wait even longer.

First hinted at in 2006, the splendor of This Is Vegas wasn't fully revealed until 2008, and was scheduled for release later that year. Unfortunately, thanks to publisher Midway's own personal financial woes (many of them likely brought on by This Is Vegas' ballooning costs, as the publisher reportedly spent Keep the Vegas dream alive.

Here it is: the White Whale of vaporware. Blizzard is known for only releasing games when they're "done", which of course means they take years longer to make than most, and the studio isn't afraid to shelve something if they don't think it's worth continuing - even if that means cancelling a game after years of development. StarCraft: Ghost would have put players in the role of the titular sniper as she sneaks her way through various sci-fi environments, completing objectives, and shooting Zerg in the face.

Unfortunately, development didn't go as smoothly as you'd expect. Originally planned for a 2003 release, Ghost underwent numerous delays, and even changed hands from developer Nihilistic to Swingin' Ape Studios. It was then relaunched at E3 2005 and slated for a release in 2006 - which came and went, and Ghost was still a no-show. Around that time, a little game you've probably never heard of called World of Warcraft released, and Blizzard decided to pour resources into its new MMO rather than continue working on a stealth-based PS2/Xbox game, so it put Ghost on indefinite hold. If you're still holding out hope, don't: Blizzard CEO Mike Morhaime finally put a bullet in this one, confirming its cancellation in 2014.

Nothing to see here. Move along.

showed us just how important Mother Base is to The Phantom Pain. After the events of Ground Zeroes, Big Boss and friends aim to rebuild their off-shore military fortress bigger and better than ever, and this fully explorable facility is massive.

As you Fulton soldiers to recruit them into your army, you can assign them to different departments, like RD, Medical, and Intel. Assigning them to the right department will determine the kind of upgrades you're able to research - so if you feel like snagging that rocket launcher sooner rather than later, perhaps it's best to shift your employees around to make it happen. Plus, there are specialists out on the field, capable of unlocking unique gear and special features within Mother Base. The Phantom Pain even has its own version of Dragon Age: Inquisition's War Table, allowing you to send combat troops out on timed missions to earn items and make Big Boss' life in the field a little easier. Many of these missions can take hours, though, so while you're off doing important life stuff (like sleeping), make sure your soldiers are working hard before you sign off. When you log back in, you'll find the results of their excursions waiting for you.

While the shift to open-world stealth gameplay means blowing out certain aspects of Metal Gear Solid’s design, it also means scaling back on others, and in The Phantom Pain's case, that means dialing down the cutscenes. Not that there won't be any long-winded monologues, but the first 16 hours or so of the game puts a much larger emphasis on the gameplay, and you won't have to twiddle your thumbs waiting for the action to get going.

For a nice change of pace, The Phantom Pain puts a lot of its secondary information on cassette tapes, rather than dumping everything on you via hours of static codec conversations. Want to know more about the political landscape of the early 1980s or what happened to your comrades after the events of Peace Walker? Pop in a tape while you're travelling across Afghanistan or exploring Mother Base.

Unlike other Metal Gear games, Big Boss won't be funnelled down a linear path from the beginning of the story to its end. Instead, you'll choose from a variety of missions from a menu, similar to the PSP entry, Peace Walker.

You get a series of story-based mission that will further The Phantom Pain's narrative, but you also have a huge variety of Extra Ops to choose from, ranging from assassination missions, to recruiting specific soldiers, or even hunting down old members of your squad. Completing these missions will reward you with additional resources, which you can then use to build extra weapons and gear. If you're stuck on a particularly difficult story mission, take on a few side quests, research a rocket launcher, and blow up your problems with ease.

While we know the, ahem, clothing-deprived Quiet and Big Boss' horse can help out in the field, two other buddies can accompany Big Boss in his stealthy endeavors. If you're observant, you'll be able to find and recruit your own wolf pup, who can then be used to either distract guards or attack them on cue. Taking any of these buddies with you on missions will make them more loyal to you, and the higher their loyalty level, the more responsive they are to your commands.

The other buddy is a bit less… organic than the others. After a certain point in the story, Big Boss will get his hands on what looks like a mini-Metal Gear - a bipedal battle tank with a built in tranquilizer. Despite its default lumbering gait, it's surprisingly versatile, allowing you to speed across vast distances with its boosters, or to sneak across the battlefield by activating its 'silent running' option.

The latest feature revealed for Metal Gear Solid 5: The Phantom Pain will make Snake a nigh-undetectable master of stealth and subterfuge… and will also make him look completely ridiculous. Konami recently revealed the glorious chicken hat, a piece of equipment which players will be offered if they get killed or otherwise fail in Snake's quest for vengeance too many times.

You're free to pass on the hat, but you'd be giving up one of the most versatile tools in tactical espionage action that isn't made from corrugated paper. Guards don't tend to get out of sorts when they see Snake wearing it (unless he sticks around too long or starts shooting at them), because they think he's just a harmless chicken. Just a harmless, man-sized chicken with an eyepatch and a robot arm. Apparently there's no penalty for wearing the hat other than occasionally catching its weary stare as you try to follow otherwise serious cut scenes.

Looking for formation on Metal Gear Solid 5: The Phantom Pain? Click on for everything we know about the game.

At The Game Awards 2014, a new trailer for Metal Gear Online - the multiplayer companion to Metal Gear Solid V: The Phantom Pain - was shown. Right off the bat, it looks like you can have eight players on a team - if the above image is any indication. The developers did confirm that the Metal Gear Solid characters themselves will be playable, so you won't be running around as a bunch of generic-military-shooter-men (though there are still plenty of those).

In the ensuing firefight, a variety of traps and tools were shown. Early on Snake hijacked what very much looked like a tiny Metal Gear built for one, and rode it around the battlefield wreaking havoc. Not necessarily the stealthiest way to go about it, but it sure looked like fun. As for traps, the opposing team deployed a balloon mine that, when triggered, hoisted an unsuspecting player up into the air for easy shooting. They also had a… um… stuffed dog toy that they just dropped on the ground. This seemed to function much like the dirty magazines of yore, leaving its victim hopelessly infatuated (and ready to get shot down).

Looking for formation on Metal Gear Solid 5: The Phantom Pain. Just click on to the following slides for everything we know about the game.

There's a fresh gameplay demo of Metal Gear Solid 5, and it's stuffed full of new features. You can watch the video underneath this article, but here are some of the highlights... It shows a typical mission in one of Phantom Pain's open-mission areas. Snake is sent in to extract a hostage, and he takes new female companion Quiet with him. She has the ability to evaporate into a cloud of smoke, and reappear at set locations on the map. So, as Snake progresses through the woodlands in this demo, Quiet moves around the level to cover him with sniper fire.

While Snake can take out most enemies himself, Quiet is used as a back-up or for removing multiple threats at once. The hostage, for example, has two guards. Snake coordinates with Quiet, picking a target each to eliminate them at the same time. Apparently, there will be other allies that can be used as support characters throughout the Phantom Pain. Before you ask: it's unlikely they'll be human-controlled characters.

The demo shows off several interesting gadgets and moves too. We see the Phantom Cigar in action, which Snake can smoke to pass the time. This will allow you to change the conditions for each mission. In the demo, it's a dank, rainy day to start with but, as Snake puffs on his stogie, time passes. Night comes and goes, and the next day is much more clement. It's understandable that you'd want to tackle some missions at night, but it's unclear if the weather or time of day will have much impact on the gameplay.

Another nifty gadget is the Active Decoy. In the demo, Snake uses it in two ways. The first, rather amusing use, sees him bump a guard off a cliff-edge with the decoy. It then inflates in the shape of a person, drawing the attention of another near-by enemy. Snake then zaps this distracted fool with a power-glove. Later in the demo, Snake deploys three decoys while he's being chased by a group of militia. While they shoot up the inflatables, causing them to wither in a comedy fashion, Snake flanks his opponents and shoots them dead.

Even Metal Gear fans will admit the series history is really hard to nail down, so let's make it clear right now: The Phantom Pain's Snake is Big Boss, aka Naked Snake in Metal Gear Solid 3, the star of Peace Walker, father to Solid Snake, and the villain of the original Metal Gear game. It's set in 1984, 11 years before Solid's first battle with Big Boss. In The Phantom Pain, Snake is just trying to rebuild.

According to early sources, his nickname for MGS5 appears to be Venom Snake, likely because he's filled with venomous rage in a quest for revenge on the people that killed and tortured those closest to him. He plans to do a lot of damage, but he's got to do a lot of rebuilding first. In fact, Snake himself has been rebuilt this time, including a newly acquired cybernetic arm and some very different gameplay.

The Phantom Pain appears to begin with Big Boss/Snake dead on a stretcher. He's eventually revived and but is in a coma for the next nine years. When he awakes, he's missing an arm and has to quickly relearn his motor skills, because the hospital he's staying in is under attack. After escaping, Snake is set on revenge on the mercenaries that did this to him, so he starts to rebuild his army, this time under the David Bowie-esque moniker Diamond Dogs.

The Phantom Pain seems to be a lengthy tale of revenge on the part of Snake, as he slowly builds up the private military group that will presumably become Outer Heaven. As he rebuilds his reputation on the battlefield, Snake will meet friends old and new, as well as taking out armed guards with tranquilizers and CQCs. But will he find the mysterious XOF team that seems to be responsible for all his pain?

Classic Metal Gear games are known for sneaking in tight corridors and quiet hallways, though the series opened up more and more with each sequel. The Phantom Pain makes the world bigger than ever by adopting a truly open world gameplay. Snake gets dropped into a base and can explore it however he likes, planning his approach however he chooses, using new tools like the iDroid to mark waypoints along the way.

The changes feel natural for the franchise because the combat is still there, you just have way more places to hide. MGS has always been about giving players room to experiment, and Phantom Pain's map is apparently bigger than every previous Metal Gear combined. That's a lot of space to drag around bodies.

It took years before MGS creator Hideo Kojima announced The Phantom Pain, but he was talking up the game's technology long before we ever saw Snake's new arm. Kojima built the Fox Engine to be a flexible set of tools for making games for both 360/PS3 and Xbox One/PS4, able to create natural looking environments and realistic fabrics with ease. Now that we've seen the fifth Metal Gear Solid in action, we have to admit that the Fox Engine looks like a success.

MGS5's prologue, looked incredible--even the rocks were worth gawking at. Facial animations were marvelous, as were the weather systems and shifting time of day. Early footage of Phantom Pain seems to only build on Ground Zeroes visuals, looking better with each new trailer and screen. The series has always looked great and MGS5 doesn't look to ruin that reputation.

MGS5 has some insanely huge maps, so it's a good thing that Kojima isn't forcing Big Boss to crawl around the miles of open world. For the first time in series history, MGS5 adds in drivable vehicles, putting Big Boss behind the wheel of jeeps and tanks. He can even ride a horse around the world, as we've seen in an early Afghanistan level, and the horse defecates in real time--seriously, new-gen horse poop.

Snake can also take to the air via helicopter. Though Snake is alone on his tactical espionage missions, he can call for help from his team, including airstrikes via copters that he can ride along in. How will all these transportation options change the gameplay? And what other planes, trains, and automobiles will be available in the final game?

Snake already had to deal with losing an eye, but when he wakes up in his hospital bed he has to come to terms with losing his left arm and having chunks of shrapnel embedded in his skull. His prosthetic is pretty advanced for 1984, with all the maneuverability of a normal arm, but with special abilities. Do you recall how Snake normally taps on a wall to call over a curious guard? Well, that arm can now make that arm wherever, no wall needed. How's that for advanced?

Snake's cybernetic enhancement fits with a series full of augmented characters like Gray Fox, Raiden, and Revolver Ocelot, and the tech advancements don't stop there. Snake's iDroid is a great asset for planning out missions, summoning weapons, or listening to emotionally draining conversations. And to help time pass in game, Big Boss now has an e-cigar that he smokes while the in-game clock quickly advances.

The whole of MGS 5’s narrative is split and seems to be pre- and post-coma. Before Snake heads off to dreamland, he’s seen assisting a familiar face in the accompanying hospital bed. Master Miller (a.k.a. Kazuhira Miller) had teamed up with Big Boss prior to the Peace Walker incident to form Militaires Sans Frontières. When Boss awakes, Miller has been kidnapped and Snake has save his old friend from being tortured to death. And Snake gets help from his classic frenemy, Revolver Ocelot.

With Ocelot, Miller, and other familiar faces hanging around, the game still finds room for new characters. There's The Quiet, a controversial femme fatale that seems to have a complicated past. There's also a character that looks a bit like Psycho Mantis, as well as some other potential bosses with wacky names, such as Skull Face, Code Talker, and Eli. We look forward to hearing their life stories in separate 40 minute cutscenes.

Many Metal Gear fans skipped over the PSP entries in the series, which is too bad, and not just because they were fun. Peace Walker appears to be very important to the plot of The Phantom Pain, and MGS5 is even adopting some of the portable entry's most ambitious ideas. Namely, MGS5 has the return of the Mother Base and Recruitment systems.

As before, Snake and his team operate of Mother Base, and the giant tanker has been rebuilt using resources Snake finds in the field. Big Boss can acquire new soldiers and items via the returning Fulton system, which basically means you can attach a balloon to anything and it'll fly to Mother Base. It works on people, cars, anti-aircraft guns, even goats. Yes, goats can become members of Diamond Dogs.

The first publicly available taste of MGS5 is already available and... so far so good. As detailed in our , Snake plays better than he's ever played before, with everything from combat animations to moment-to-moment movement feeling more realistic when exploring Camp Omega. The game also delivers on its promise of taking the previously linear Metal Gear series and transitioning it into a more open-world, player-decision driven progression path. And though there isn't much by way of story here, Ground Zeroes' narrative treads the same thought-provoking ground you'd expect from a Kojima game.

Plus the game sets up a ton of plot points that Phantom Pain will no doubt explore. You learn the fates of Peace Walker characters Paz and Chico, you meet the despicable villain Skull Face, and you witness the attack on Mother Base that puts Snake in his lengthy coma. This is all essential info for Phantom Pain, plus it gives you ample time to adapt to the new controls.

When the star of 24 was confirmed to be the new lead in MGS, director Hideo Kojima had this to say about Kiefer Sutherland as Big Boss: "I wanted Snake to have a more subdued performance expressed through facial movements and tone of voice rather than words," Kojima said. "The game takes place in 1984, when Snake is 49 years old; therefore, we needed someone who could genuinely convey both the facial and vocal qualities of a man in his late 40s."

Sutherland will not only lend his vocal talents to our favorite spy, but also his movements as well--Snake's animations will be modeled after motion captured data. "It's an honor to be able to play this character," Sutherland said. "This character has an unbelievable legacy, but there's a real personal quality to this character that I've connected to. I'm not a gamer and I even knew about this game. I was certainly keenly aware of the legacy of these games." For fans of David Hayter's portrayal, you can hold out hope that Hayter still technically remains the voice of Solid Snake.

Yeah, we've heard this before. Hideo Kojima is claiming that Metal Gear Solid V is his last Metal Gear game, and that he'll pass the franchise off to his staff after this one. Before you get too worried, you should remember that he said literally the same thing when Metal Gear Solid 4 was announced. Kojima saying he's making his last MGS game is like The Rolling Stones saying they're on their last tour.

Kojima claimed that the reason he's making it at all is because he wants to reinvent the series before he leaves. That's why it's Metal Gear Solid V instead of 5 (V is for "Victory," in his mind), and that's why he's leaving David Hayter in the past. But will he really go to all the work of redefining Snake only to abandon him?

We still don't know everything, though. Can you... ever know everything about Metal Gear? What do you think? Let us know in the comments what you think about Metal Gear Solid 5: The Phantom Pain.

And if you're looking for more, check out .