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From: www.gamesradar.com

From: www.gamesradar.com

Fallout 4 World Is Colorful Only To Cheer Up Players

Added: 25.07.2015 16:19 | 1 views | 0 comments


Perhaps the most obvious difference between Fallout 4 and the rest of the series is that its color palette contains...

Tags: Onto, World, Chevy
From: megagames.com

Fallout 4 World Is Colorful Only To Cheer Up Players

Added: 24.07.2015 23:19 | 1 views | 0 comments


Perhaps the most obvious difference between Fallout 4 and the rest of the series is that its color ballet contains...

Tags: Onto, World, Chevy
From: megagames.com

Real FPS action and Mr. F**kface head up Fallout 4#39;s huge Quakecon presentation

Added: 24.07.2015 23:06 | 50 views | 0 comments


So today is turning out to be a really good day for Great Video Games That Aren't Out Yet. Following up this morning's , aka 'that game that loves letting us think we know how good it is so that it can suddenly look even better and laugh in our sweet, naive faces'.

What have I seen and learned today? Quite a lot. I've learned about a new companion character. I've learned about a new location. I've learned about the new levelling system, and seen the brilliant-looking new combat. I've also learned of the kind of names Bethesda expects you to give your characters, and good Lord, does Bethesda not expect a high standard of decorum from you at all.

No point beating around the bush here. That's legitimately a thing you can do in Fallout 4. Bethesda has recorded Mr. Handy - the game's plummy-voiced robot companion - saying 1000 of the most popular names players might want to bestow upon their character, in order to give the game that extra-immersive personal touch.

We were presented with a demo video of a few names to show off Handy's versatility. The final two of those names were "Mr. McFly" and "Mr. Fuckface". And lo, a million players who had never considered calling their character Fuckface will now be calling their character Fuckface. Because that is how humans work.

There are going to be around a dozen companions in Fallout 4. We already knew about Handy, Dogmeat, and Preston, but now we can add Piper <(i>not pictured above) to the list. Which is good, because she's pretty damned cool.

Initially encountered trying to get into a locked down Diamond City (built in the ruins of Fenway Park baseball stadium), she opportunistically uses the Sole Survivor's presence to get in, pretending he's a trader with valuable supplies to sell, in order to bluff past the guards. Once inside, it transpires that she's the editor of the post-apocalyptic newspaper, Public Occurrences (is it just us, or is Fallout feeling distinctly more civilised these days?). The mayor hates her, referring to her as a "devious, rabble-rousing slanderer". Clearly, she is not on message with the local political PR. We like her.

Yup, the leveling system has been given an overhaul. Customised via a brilliant, animated Vault-Tec poster in-game, perks (which can be unlocked at level-up, as usual) are tied to the various ability stats in your character's S.P.E.C.I.A.L. ratings.

There are 70 base perks, but each has a series of XP rankings of its own, meaning that it can be leveled up alongside its respective S.P.E.C.I.A.L. stat in order to unlock greater abilities. With all graded perks taken into account, the total comes to 275. Happy grinding.

Later on in the Quakecon presentation we got an extended gameplay demo of a new town area, Lexington. With a lengthy new stretch of the game on show, it rapidly became clear just how radically upgraded Fallout 4's world is from that of its predecessors. In short, it makes Fallout 3 look like a game made out of cardboard.

It's not the result of any one change, but rather a raft of little tweaks that seem specifically designed to address the issues that cropped up in F3's world after prolonged exposure. There's the vast swath of vibrant colour. The sheer, open airiness, the sense of light and space. There's the amount of movement and fully structured environmental detail in each frame when exploring. There's the way that multiple camera angles during conversations make them feel like properly directed cutscenes, and the way your fully-voiced character reacts to even the most innocuous discoveries and events. As compulsive at it is to explore, navigating Fallout 3's world can at times feel like silently observing a diorama. Fallout 4 feels like having a real presence in a real place.

Speaking of real presence, holy crap, does Fallout's combat look to have improved. As in, it looks like a genuinely respectable open-world FPS now, rather than an RPG with a rather crap, rather static shooting model tacked on. The VATS slow-mo targeting system looks a whole lot faster and slicker for a start, but that's not the really exciting bit. The really exciting bit is that it doesn't look like you'll be wanting (or needing) to rely on it half as much.

While hardly as fast and flowing as its Quakecon sibling, , Fallout's gunplay looks much smoother and more dynamic than before. While enemies (Ghouls in particular) still have a habit of charging straight into your face, dealing with them is no longer a case of frantically back-pedaling while waiting for VATS to recharge. Sidestepping, strafing, and weaving all look entirely viable while shooting smoothly and accurately, and level design looks set up to properly accommodate that stuff this time around, with well-placed cover, choke-points, lines of sight, and exploding hazards aplenty. And throughout it all, the Sole Survivor looks delightfully capable and versatile.

Leading on from that last point, sweet crap, does Fallout 4 look effective as an action game. While the core combat mechanics look immensely improved, it's the stuff around them - the presentation and feedback of combat, and the bigger situational picture - that really pushes things to the next level.

We've seen hand-cranked laser muskets (effectively a clunky retro sci-fi shotgun) hit with delightful impact, and leave the burnt meat of Ghoul flesh billowing with smoke. We've seen crucial hits with bats shatter knees and set up skull-cracking executions, and that's just the start. The end of our demo sees the Sole Survivor dashing between cover points in an open street to avoid and retaliate against rooftop snipers, just as a Brotherhood of Steel gunship arrives. The aircraft starts peppering the road around him with cluster bombs, forcing a frantic, improvisational fight on two fronts, until the Ghouls above send it spiraling down into a nearby building. It’s still Fallout, but now it has set-pieces, and genuine, visual spectacle. Seriously.

I just played Doom and I still haven#39;t recovered. Here#39;s why

Added: 24.07.2015 19:20 | 27 views | 0 comments


You're not ready for Doom. You're really not. This morning I played an hour of back-to-back games in the new demon-bothering shooter's versus multiplayer, and my head still isn't right. It is, however, very happy.

Doom, you see, is intense. It's intense in ways we haven't seen in a mainstream FPS for quite a while. It's not just the aggression, or the speed, or the gibs (though all of those things certainly factor in). It's more than that. It's Doom's cleverness. It's Doom's deceptive, layered complexity. It's the constant, gleefully ferocious back-and-forth between demand and reward. Doom is great. And it's messed me up rather brilliantly. Here's why my head is such a giddy shambles right now.

You'll notice this immediately. Doom is fast. And it's not just about Doomguy's immediate running pace, which is both blistering and relentless (no sprint toggle here: you're either charging forth or you're standing still, in which case you're probably dead). It's about the kind of speed that permeates the whole game.

This isn't Call of Duty fast, where running hard and aiming quick are the be-all and end-all. This is multi-dimensional fast. Speed dictates everything. Your forward momentum, your lateral movement (ducking and weaving is a way of life in Doom, due to the proliferation of dodgeable, physical projectiles and lengthy health bars), your vertical movement, your spur-of-the-moment escapes and rapid, rethought retaliations... Your first few games will be spent recalibrating your brain to operate at a rate of knots in every respect. When you get it though, it could not be more exhilarating.

If you have a storied history in multiplayer shooters, there's another aspect of Doom that's likely to throw you off at first. You see, Doom's persona is a little ambiguous. Yes, the tight, intricate map design - packed as it is with opportunities for creative navigation and clever vertical assaults - is pure Doom. But in other respects? There's a whole lot of Quake here.

There's the quad-damage pick-up. There's the springy, double-jumping focus on bunny hops. There's the splattery crowd-control of the plasma rifle. There's the way any of each match's million and one frantic, cat-and-mouse skirmishes can break into explosive, high-flying madness at the drop of a rocket. Reconciling the two games' traditional elements can take a little while. At times it feels like an airier Doom, at other times a tighter, more restrained Quake. Ultimately though, the two games' conceits do compliment each other, leading to a relentlessly aggressive, but pleasingly focused game. And speaking of focus...

Doom might be all about the carnage, but igniting that destruction effectively requires sharp, thoughtful shooting. With a bit of experience using Doom's weapon-set, it quickly becomes apparent that this is not a game that rewards mindless spamming. Its guns are imposing, but to get the most out of them, you're going to have to fight smart and stay on your toes.

The rocket launcher, for instance, is not the easy harbinger of devastation you might expect. Its splash damage area is deceptively small, demanding fast, precision shots and a whole lot of target-leading. The faster-firing weapons can be painfully weak unless you utilize their more powerful secondary modes (such as the repeater rifle's high impact Magnum rounds), at which point even more methodical precision - and sometimes the reduced view of a scope - comes back into play. Doom's equivalent of a railgun is a classic example: a decent, medium-to-long range weapon as standard, which requires a zoomed charge in order to bring the delicious one-shot action. And at no point will Doom slow down enough to make any of this easy. As such...

If you're fighting at medium to long-range and trying to get by with reaction shots, you're already too late. Fact. With no radar, and an arsenal that favors real, physical, trackable ordnance over point-and-click hitscan firing, Doom's combat is all about thoughtful, preemptive play.

You need to predict your opponents' behavior. You need to influence it into advantageous shapes with smart use of weapon switching and spatial control. You're required to understand the many subtle interplays between your weapons' rate (and type) of damage and speed to target, your opponents' probable responses, and your own follow-up options at any given time. In short, if you're not playing with your head two seconds into the future at any given time, you're playing too slowly. And goddamn if that isn't constantly exciting.

Don't go thinking that the intensity of those skirmishes means you're just looking at a few tense flare-ups with plenty of time to recover in between. Doom is relentless. You're never more than ten seconds away from the next scuffle, and even if you manage to stay out of the action for a while, it won't do you any good unless you use that time wisely and bravely.

With no inherent life regen, health and armor pick-ups are your only hope of staying in the fight. They're plentiful, but they're not going to just drop in your lap - you need to seek them out. You're going to have to scavenge. That means build healing break-aways into the entire rhythm and flow of your fighting, often while under fire. And you're never going to know whether a lone-wolf loot run is going to end in your salvation or the exact opposite. When it's the former though, especially with an enemy on your tail, there's no sweeter comeback. As for lone-wolfing it, well...

Yes, Doom looks - and often feels - anarchic, but talking, planning and synergizing with your team is how you're going to stay alive. Given the drawn-out nature of Doom's one-on-one firefights, the numbers game is a big deal. Ideally, you always want at least one buddy on hand to cover angles and call out situations you might not be aware of.

Of course, a fast, creative player can definitely beat stacked odds alone (or at least escape to fight another day), but such situations are certainly best avoided. Especially when the Revenant comes into play...

Every couple of minutes (at least in the single mode shown at Quakecon), a pentagram powerup will drop into the map. Once someone grabs it (following an inevitably intense fight for control of the area), they'll transform into one of Doom's skeletal, rocket-slinging Revenants. They'll do ridiculously overpowered damage. They'll inflict a nasty amount of splash damage. They'll be able to fly. In short, they become a miniboss on the map, fighting on behalf of one team until it either times out or is killed.

The latter is obviously the preferable option, and that's where the real joy of Doom's design comes together. For a team to take down a Revenant quickly, everything previously mentioned has to come together as part of one big, glorious, smoothly cooperative machine. Tight, preemptive play. Smart aggression balanced with canny self-preservation. Insightful understanding of the limitations of attack and defence. A team you can rely on. It's tough. It's grueling. At times it's terrifying. But it's never anything less that triumphant, hilarious, explosive fun. And that, right there, is Doom all over.

Should More AAA Titles Adopt a Service Approach?

Added: 24.07.2015 12:18 | 17 views | 0 comments


Push Square: "Once upon a time, gaming was quite a disposable pastime. You'd shell out for the latest blockbuster from your nearest store, run through it a couple of times, and then trade it back in often in exchange for the next best thing. And so the cycle would repeat. However, the PlayStation 3 generation mixed things up, with the introduction of downloadable content and online multiplayer encouraging players to hold onto their Blu-rays for a little longer. And now with the PlayStation 4, it seems like some developers have mastered the art of keeping gamers engaged over a much longer period of time but should more AAA titles be taking note?"

From: n4g.com

Five Nights at Freddy's 4 Jump-Scares an Early Release

Added: 24.07.2015 0:19 | 3 views | 0 comments


Once again, the next installment of Five Nights at Freddy's shows up on the Steam store earlier than expected.

Tags: Steve, Onto, Fire, Earth
From: www.ign.com

Dreamfall Chapters Book 3: Realms Review

Added: 23.07.2015 23:49 | 8 views | 0 comments


Back in 1961, the prolific Rod Serling adapted a short story for an episode of his Twilight Zone series titled "Five Characters in Search of an Exit." In this episode, a clown, a hobo, a ballerina, a bagpiper, and an Army major find themselves confined within a large, metal, silo-type enclosure. There are no doors or windows--only an open ceiling much too high for any of them to reach. The characters are blank slates. They have no memory or knowledge of who they are, where they came from, or how they wound up in the silo. Racking their collective brains, they posit whether they have been abducted by aliens, have gone insane, have died and been sent to Hell, or exist only as figments of someone's imagination--as characters in another person's dream. Eventually, the major plots an escape and manages to clear the wall. As he tumbles over the edge, the twist is revealed. (Spoiler!) The camera smash-cuts to a child picking up an army doll from the snow and placing it back in a bin used to collect Christmas toys for orphans. The major is returned to the group, all depicted as dolls now, while the ballerina’s eyes fill with tears as her plastic hand reaches towards his.

While Serling's tale centers on the unknown horrors of existential dread, it also demonstrates the way in which the creative process itself becomes manifest in the final product. The twist ending is encapsulated by the meta-narrative of the child, who embodies the spirit of this creative potential. Without a child to play with the dolls, they remain sedentary lumps of cloth and paint. Dreamfall Chapters Book Three: Realms begins with its own child, Saga, scuttling around her Storytime home. From here, the worlds of Stark and Arcadia may be viewed from a different perspective, a meta-perspective, in which the boundaries of their occupations by the Azadi and the Syndicate alike form the walls of their respective toy bins. Like the Twilight Zone episode, the Dreamfall trilogy simultaneously is, was, and will be in this abstract, ethereal place.

Abby and Hannah. Awwwww.

Admittedly, the postmodern layers weaving through the story are often difficult to pin down. So what better way to illustrate their connection to the boots on the ground than with a little straight-forward adventure-game fare?

The player's first task after assuming the role of Saga in Interlude II involves a laborious easter egg hunt for a series of the child's drawings hidden around the house. Saga's clumsy toddling through the home begins as a cute romp of stilted, giggling mania and quickly becomes an exercise in patience and perseverance as the drawings become exponentially difficult to find and Saga's movement grows more frustrating to negotiate.

Fortunately, as Saga explores the house, she has more to do and interact with than the goal requires. Whether she plays with a picture on the mantle, a poster on the wall, or a simple hat on a rack, Saga's superfluous interactions with these objects fill in some of the rather drab enviro-narrative spaces with flares of color. In classic adventure-game fashion, many of these interactions, such as plucking an umbrella from a pail and pronouncing, "I'm a fancy lady!" are more satisfying than the objective at hand. Typically, "click on all the things" tends to be a fruitless undertaking, but in this case it was absolutely worth it. Saga communicates a real sense of wonder and captivation consistent with her muse-like character.

The stealth is better this time around.

Once the entire series of drawings has been acquired, Saga must order them chronologically, with each piece depicting an event from

On the other side of the coin, Zoë emerges from the explosive conclusion of Book Two with a new look of her own (dig the short hair!) and a similarly intensified security presence in Propast. Again, the limited access offered by Syndicate forces serves the pacing of this act well. Aside from a couple of quick jaunts through Chinatown to check in with Queenie and Mira (who actually shows some niceties to "petal" for once), Zoë is off to the races as she struggles to procure a modded dream machine to further explore the connection between the Syndicate and WATICorp, including an important revelation involving Hannah and the Dreamtime.

Once her task is complete, Zoë's return to the Dreamtime finally makes good on a long-awaited reunion with one of Dreamfall's most familiar and notorious compadres, Crow. This intermezzo of cheeky banter provides a welcome if brief respite from the bustling tempo of Zoë and Kian's journey to this point. It proves yet again that this story still has a few surprises up its sleeve in the way of character development and dialogue treatment.

Along those lines, Book Three continues to pack punch after punch when it comes to character insight. From the bombshell dropped by Anna in her meeting with Kian to Kian's extremely brave and personal confession at the onset of the opening chapter (not to mention an especially sweet scene between Hannah and Abby), Dreamfall Chapters raises the stakes of not only the conspiracy game but also its players. They have true skin in the game, and the conflicts surrounding them become more palpable and complex as a result.

Zoe must tip her barber extra.

Without giving too much away, Book Three takes our heroes in new directions, which are sure to affect their characters in interesting, potentially different ways depending on the final and most significant player choice in the episode. Regardless of the outcome, the conclusion sees Zoë finally making her first leap over the proverbial toy bin wall, while Kian is set to do the same. But instead of an out, both heroes are seeking an entrance to infiltrate new spaces in which worlds collide and player decisions dictate the terms of trespass.

In many ways, Book Three acts as the fulcrum from which the story's trajectory pivots on your past choices. It is short and powerful, using the momentum of previous chapters to leverage dramatic weight going into the penultimate act like narrative jiu-jitsu. In contrast to the previous two acts, the third clocks in at around four hours, none of which seem to waste a minute. What will Kian and Zoë find as they continue to scale the walls of conspiracy? At this point, the "what" hardly matters. Book four is poised to bring much teresting answers in the how, why, and with whom. This is perhaps its greatest victory as I, for one, can't wait to see who else is lying in the snow outside that toy bin.

From: www.gamespot.com

Dreamfall Chapters Book 3: Realms Review

Added: 23.07.2015 23:49 | 18 views | 0 comments


Back in 1961, the prolific Rod Serling adapted a short story for an episode of his Twilight Zone series titled "Five Characters in Search of an Exit." In this episode, a clown, a hobo, a ballerina, a bagpiper, and an Army major find themselves confined within a large, metal, silo-type enclosure. There are no doors or windows--only an open ceiling much too high for any of them to reach. The characters are blank slates. They have no memory or knowledge of who they are, where they came from, or how they wound up in the silo. Racking their collective brains, they posit whether they have been abducted by aliens, have gone insane, have died and been sent to Hell, or exist only as figments of someone's imagination--as characters in another person's dream. Eventually, the major plots an escape and manages to clear the wall. As he tumbles over the edge, the twist is revealed. (Spoiler!) The camera smash-cuts to a child picking up an army doll from the snow and placing it back in a bin used to collect Christmas toys for orphans. The major is returned to the group, all depicted as dolls now, while the ballerina’s eyes fill with tears as her plastic hand reaches towards his.

While Serling's tale centers on the unknown horrors of existential dread, it also demonstrates the way in which the creative process itself becomes manifest in the final product. The twist ending is encapsulated by the meta-narrative of the child, who embodies the spirit of this creative potential. Without a child to play with the dolls, they remain sedentary lumps of cloth and paint. Dreamfall Chapters Book Three: Realms begins with its own child, Saga, scuttling around her Storytime home. From here, the worlds of Stark and Arcadia may be viewed from a different perspective, a meta-perspective, in which the boundaries of their occupations by the Azadi and the Syndicate alike form the walls of their respective toy bins. Like the Twilight Zone episode, the Dreamfall trilogy simultaneously is, was, and will be in this abstract, ethereal place.

Abby and Hannah. Awwwww.

Admittedly, the postmodern layers weaving through the story are often difficult to pin down. So what better way to illustrate their connection to the boots on the ground than with a little straight-forward adventure-game fare?

The player's first task after assuming the role of Saga in Interlude II involves a laborious easter egg hunt for a series of the child's drawings hidden around the house. Saga's clumsy toddling through the home begins as a cute romp of stilted, giggling mania and quickly becomes an exercise in patience and perseverance as the drawings become exponentially difficult to find and Saga's movement grows more frustrating to negotiate.

Fortunately, as Saga explores the house, she has more to do and interact with than the goal requires. Whether she plays with a picture on the mantle, a poster on the wall, or a simple hat on a rack, Saga's superfluous interactions with these objects fill in some of the rather drab enviro-narrative spaces with flares of color. In classic adventure-game fashion, many of these interactions, such as plucking an umbrella from a pail and pronouncing, "I'm a fancy lady!" are more satisfying than the objective at hand. Typically, "click on all the things" tends to be a fruitless undertaking, but in this case it was absolutely worth it. Saga communicates a real sense of wonder and captivation consistent with her muse-like character.

The stealth is better this time around.

Once the entire series of drawings has been acquired, Saga must order them chronologically, with each piece depicting an event from

On the other side of the coin, Zoë emerges from the explosive conclusion of Book Two with a new look of her own (dig the short hair!) and a similarly intensified security presence in Propast. Again, the limited access offered by Syndicate forces serves the pacing of this act well. Aside from a couple of quick jaunts through Chinatown to check in with Queenie and Mira (who actually shows some niceties to "petal" for once), Zoë is off to the races as she struggles to procure a modded dream machine to further explore the connection between the Syndicate and WATICorp, including an important revelation involving Hannah and the Dreamtime.

Once her task is complete, Zoë's return to the Dreamtime finally makes good on a long-awaited reunion with one of Dreamfall's most familiar and notorious compadres, Crow. This intermezzo of cheeky banter provides a welcome if brief respite from the bustling tempo of Zoë and Kian's journey to this point. It proves yet again that this story still has a few surprises up its sleeve in the way of character development and dialogue treatment.

Along those lines, Book Three continues to pack punch after punch when it comes to character insight. From the bombshell dropped by Anna in her meeting with Kian to Kian's extremely brave and personal confession at the onset of the opening chapter (not to mention an especially sweet scene between Hannah and Abby), Dreamfall Chapters raises the stakes of not only the conspiracy game but also its players. They have true skin in the game, and the conflicts surrounding them become more palpable and complex as a result.

Zoe must tip her barber extra.

Without giving too much away, Book Three takes our heroes in new directions, which are sure to affect their characters in interesting, potentially different ways depending on the final and most significant player choice in the episode. Regardless of the outcome, the conclusion sees Zoë finally making her first leap over the proverbial toy bin wall, while Kian is set to do the same. But instead of an out, both heroes are seeking an entrance to infiltrate new spaces in which worlds collide and player decisions dictate the terms of trespass.

In many ways, Book Three acts as the fulcrum from which the story's trajectory pivots on your past choices. It is short and powerful, using the momentum of previous chapters to leverage dramatic weight going into the penultimate act like narrative jiu-jitsu. In contrast to the previous two acts, the third clocks in at around four hours, none of which seem to waste a minute. What will Kian and Zoë find as they continue to scale the walls of conspiracy? At this point, the "what" hardly matters. Book four is poised to bring much teresting answers in the how, why, and with whom. This is perhaps its greatest victory as I, for one, can't wait to see who else is lying in the snow outside that toy bin.

From: www.gamespot.com


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