|Posted by Admin on July 4, 2014 at 4:35 AM|
“Game of Thrones” spends a great deal of time showing us how the harsh conditions of Westeros and Essos age people before their time. Childhood does not protect girls from being sexually abused, or boys from being castrated as part of the process that turns them into slaves. Adulthood, and the responsibilities that come with it, arrive early for those placed on thrones or shipped off to service in the icy prison that is the Wall.
“The Watchers on the Wall” was at its best when it made a different point: that for all the hardening experiences the young men at the Wall have been through, they retain some of the boyishness of their former lives. It was at its worst when the show served up a reminder that while David Benioff and Dan Weiss relish presenting us with the physical violence of Westeros, they sometimes shy away from the emotional violence that makes George R.R. Martin’s novels so striking.
The men of the Night’s Watch are all so young, in so many different ways. Sam (John Bradley), in his bookish, inquisitive way uses his last night before the attack to badger Jon (Kit Harington), and to play the lawyer. Later, with an awfully nice sense of dramatic timing for someone who lives in a fictional universe without film, Sam steals his first kiss from Gilly (Hannah Murray).
“What was it like to have someone? To be with someone? To love someone and have them love you back. We’re all going to die a lot sooner than planned. You’re my last chance to know,” Sam says wistfully, trying to find a loophole that might let him and Jon dream of love if they survive. “The interesting thing is, our vows never specifically forbid intimate relationships with women…What our vows have to say about all the activities is open to interpretation.” Jon, the more experienced of the pair, is still a bit shy when, describing “having someone,” he tells Sam “For a little while, you’re more than just you. Well, I don’t know,” retreating into the gruff disclaimer that “I’m not a bleeding poet.”
It is not all about love, either. In the tunnel, facing their deaths, Grenn (Mark Stanley) chants the words of his vows to his brothers to restore their courage. Their poignant recitation is the essence of ritual, silly when it is not necessary, but of vital importance when you need to transform yourself into the most powerful form of that “nothing” Sam became when he killed the White Walker. (And it is not only boys who hold onto childish things. Ygritte (Rose Leslie) may kill as many Westerosi people as the nastiest Thenn warrior in battle, but she is desperate to kill Jon herself, both to prove herself to the men who doubt her, and to avenge her hurt heart.)
Because they are boys, they need their teacher. One of the best things about this episode — an illustration of what “Game of Thrones” can do when it has the leisure to linger in a single location for an episode — was the way “The Watchers on the Wall” handled Ser Alliser Thorne (Owen Teale). Thorne is a cantankerous character, and his clashes with Jon Snow have been bitter since they first met. But when Thorne takes a moment to confess that Jon was right in his report about the wildlings and to confide in him atop the Wall, we can see the merit in Thorne for the first time.
“The Watchers on the Wall” does not stop there. Ser Alliser has never been interested in nurturing the boys entrusted to him, but when the wildlings come, it turns out that was not what they needed from him. When he has command of the Wall, they hold their discipline. When Janos Slynt (Dominic Carter) takes the Wall, the men fire their arrows too early, wasting precious resources and showing the wildlings the limit of their range. Slynt complains about the Brothers’ training and discipline, but the contrast between the two men’s brief commands of the Wall is a neat illustration of what makes for real leadership. It is Ser Alliser who takes the risk of going down to lead the fight at the gate, telling the frightened fighters: “A hundred generations have defended this castle. You’ve never fallen before. You will not fall tonight.” Thorne may have made mistakes that hurt the Night’s Watch out of pride and foolishness, but he is badly wounded defending the Wall, encouraging his Brothers to hold the gate even as he is dragged off to be tended to.
As the teacher falls, so fall the students, and the students’ childhoods. In a change from Martin’s novels, Jon loses two of his best friends in the Watch in this battle. Grenn dies holding the gate, while Pyp takes one of Ygritte’s arrows in the neck. Ollie, the little boy who brought the first warning of the wildling’s ranging south of the wall, picks up a bow and kills Ygritte while she threatens Jon Snow. When Tormund Giantsbane (Kristofer Hivju) calls Jon “boy” as Jon orders him dragged off in chains, Jon’s face says what he could never admit in words: He is not a boy anymore.
But while I appreciated the thematic coherence of this episode, one change from Martin’s novels struck me as an alteration for the worse. Benioff and Weiss are not afraid to have director Neil Marshall, their go-to for major battle sequences, show a man get shot off a wall by a giant arrow. They do not shy away from bodies impaled on stakes, eyes gouged out, cleavers and boiling liquid as weapons, or the sight of Jon Snow bashing in the Magnar of Thenn’s skull with a blacksmith’s hammer.
For some reason, though, they were afraid to preserve a key moment from Martin’s novels: Jon’s belief that it may have been his arrow that killed Ygritte, the woman he loved. In the books, that uncertainty reinforces Jon’s loyalty to the Night’s Watch and what it has cost him. Here, that task is given unambiguously to a child. When Jon holds a dying Ygritte in his arms, there is no fear or anger that either of them need to push aside. In an episode about the end of boyhood, “The Watchers on the Wall” preserved a boyish fantasy, and preserves Jon as a relatively unambiguous hero for episodes to come.
“Game of Thrones” can use violence of all sorts very effectively to reinforce its point about characters’ emotions and the society that they live in. The sight of Joffrey Baratheon’s (Jack Gleeson) face as he died of a poisoning served to reinforce his youth, and to suggest that as he died, we joined him in a sadistic enjoyment of a youth’s intense pain.
But that calibration can feel misapplied. Do we really need to see the viscera of the men the Mountain (Hafþór Júlíus Björnsson) kills for practice to know his strength? Do we need to watch the ruin of Oberyn Martell’s (Pedro Pascal) face at such length, when Ellaria Sand’s (Indira Varma) shrieks of agony and Tyrion Lannister’s (Peter Dinklage) empty face remind us that Oberyn’s pain ends with his death, but others will have to live with the consequences of his defeat?
Earlier this season, “Game of Thrones” had the good sense to linger on Theon Greyjoy’s (Alfie Allen) face as his crazed master fed a living girl to his dogs earlier. The expression that forces its way up through the muscles Theon has learned to leave slack if he wants to survive, and the sounds of the death he was witnessing, told us everything we needed to know. The Watchers on the Wall know a lesson “Game of Thrones” could sometimes stand to learn: Sometimes the worst things are the ones you cannot see clearly.
|Posted by Admin on July 4, 2014 at 4:00 AM|
Rating : 3 Star
Watch Dogs has been in the news ever since its teaser was launched in 2012. After a six-month delay, the game finally released last month and we had a chance to review the game over the weekend for you.
Watch Dogs is set in a fictionalised Illinois, Chicago that shows the best and worst parts of the city as well as the countryside. Here, players control Aiden Pearce, a hacker who is out to seek revenge against the death of his niece. Players essentially hack into ctOS, a centralised operating system that controls the city in which players can choose to play as vigilantes. ctOS is managed by Blume Corporation whose far-reaching powers are unravelled throughout the game.
Visually, the game retains the same feel as those of other premium games, somewhat over-glorifying the dark parts of Chicago. This gives the city a zombie-like feel and takes away from its reality quotient. Some blurry faces and lack of detail also contribute to the overall lack of excitement in the graphics department.
The hacking part of the game is cool though. You can check in to citizens’ conversations and read their most sensitive documents including transferring money to your account after hacking into bank ATMs. The sheer ability to hack into something and cause damage rather than go all ballistic with heavy-duty armoury or tanks is a welcome relief. It also lends Watch Dogs a firm overtone of geekdom. In fact, customising Aiden and his weapon is one of the most boring tasks of the game, primarily because there isn’t much to do in that department. Perhaps it’s all the bad karma for gathering too much money from other people in your account. Or perhaps the makers were just lazy to look into that aspect of the game.
But even hacking has its limits, especially in Watch Dogs. The problem with this is the sheer monotony of repetition that Aiden gets into. The game essentially is a series of missions for Aiden that are all similar to one another. During the rare mission where police will actually chase you for going into a restricted zone and hacking, the sub-par graphics will let you down.
There is a fair bit of suspense as you get closer to the end and things begin to unravel. It actually makes the effort of getting to the climax worth it. If only the game hadn’t relied on much on hacking and actually made the journey to the end more interesting, Watch Dogs would have been a great game. At the moment, the game feels more like a work-in-progress that Aiden himself might have to hack into to perfect.
|Posted by Admin on July 4, 2014 at 4:00 AM|
In a world where games such as Gran Turismo, GRID, Forza, and Need for Speed have essentially become household names for those who enjoy racing games, be they simulation based or insane arcade fun, it’s always refreshing to see lesser known games although they’re fairly legendary and pre-date most of the former, make their way back into the spotlight and actually reel in some serious attention.
While car games mostly dominate the genre of racing games and motorbikes tend to play on the sidelines of being an optional vehicle stumbled across within the game’s vehicle selection menu, developers at Milestone S.r.l. however have decided to flip things the other way with MotoGP 2014.
For a good number of the most recent years, we’ve had to satisfy our needs for adrenaline-fueled, motor popping gas tanks with racing games that follow of the tagline of Batman and Robin. To quote Chris O’Donnell from 1997′s caped crusader sidekick equality “It’s Batman and Robin, not Robin and Batman, and I’m sick of it!” MotoGP 2014 stands out as a game that seeks to rectify this for all the bike racing wonders of the gaming world, and rightfully so it does.
So how exactly do two-wheels instead of four hold up in this day and age? Frankly it’s been far too long since we’ve seen a good two wheeler that actually approached the genre of simulation racing, if any at all. As fun as Motorstorm Apocalypse is, MotoGP proves that race lines and flat surfaces can be just as heart-wrenching and nerve worrying as those that crumble before your feet and lift you over death-tumbling buildings.
MotoGP 2014 incorporates a fair number of gameplay modes most of which are no stranger to any other racing game. These include an instant race mode, grand prix, championship mode, MotoGP career, time attack, split-screen local multiplayer,online multiplayer and a safety car mode.
While the majority of these are fairly self-explanatory the modes to take note of here would be real events and challenge the champions. Real events use a mixture of real and fictional races that the player is able to experience for themselves, change the outcome, and live the event through the eyes of the selected rider.
Challenge the champions on the other hand does something fairly similar while placing a set of objectives for the player to complete, all of which are unlocked as you play through the other modes within the game. Although the main bulk of the game is played through MotoGP career which uses the player’s custom rider as their progression tool. I found the championship mode of the game to have more interest.
Using riders and tracks from past MotoGP games there’s alot of content thrown in to make up the game, the majority of which are unlockable riders which are gradually unlocked the more you play the game. There’s a reason to play here and more so than in the game’s career mode.
But that’s not to say the career mode takes a hit of any sort, as the basis of immersion and progression which is essential for any racing game is largely a requirement should it seek to be considered worthwhile. Keeping true to authenticity and realism, the game uses a physics system based on the rider’s behaviour when riding the bike.
MotoGP enthusiasts will know these as Balanced, Body Out, Old School, Elbows to the Ground, and Shoulders Out. Each of these riding styles have an instant and different effect on how you ride your bike, and players will have to play with each one to find their own unique style and which one works best with them.
It’s not as simple as automatic and manual, no car pun intended but MotoGP 2014 has everything under the hood, when it comes to gears, tuning, and character behaviour. The game also uses a rewind feature that’s more commonly known to the Grid series by Codemasters.
This basically allows you to rewind the game while you’re actually playing up to a certain point in time, should you crash or wish to retake a certain turn from a different angle or strategy. There’s also a level of bike behaviour properties that tie in to the the simulation aspects of the game. These work in combination with the riding aids available in the game all of which can be toggled accordingly.
This is great for training newcomers to the series and will help by gradually increasing their skills and techniques the more they play, until they’re ready to take on the game at it’s ultimate level of realism. It should also be noted that the level of A.I. from your opponents are just as superb and well designed as the other implementations of realism within the game, and can be adjusted too. As said previously MotoGP takes realism quite seriously within the topic of tuning of your rider’s bike and character’s physics.
Bike mechanics can be adjusted before the start of your race and I’m sure fans of the series will tweak till their heart’s content. Mechanics such as handlebar rake and trail can be adjusted, the discs of your front and rear brakes, wheel choices of soft and hard tires, gear adjustments and so on. All displayed through an immersive interface that really succeeds and pulling the player directly into the game.
One thing in particular that serves as an interesting feature to MotoGP is one that isn’t particularly well implemented. The game employs a rider customization system that allows you to choose between male and female.
Without going into the whole debacle of more games should involve female characters, as that seems to be the latest trend within gaming these days, of the fairness and equality of variety in games, I will say this.
The way in which the game gives you female riders isn’t actually something that visually noticeable, and I didn’t see the point nor could I find the reasoning for picking one over the other, when the differentiation between them is a portrait photo of an actual rider, symbolizing your characters.
Physically the two gender models appeared the same and the fact that they wear helmets anyway made the overall idea pointless. Without being said however, the choice of rider gear, colours, and player information was all done fairly well.
Customization ranges from helmet, gloves, boots, and knee pads. Taking it a step further to increase player immersion are the choices of your character’s name and age, rider number, and the choice to represent your own country. So where exactly does the rider fall off amongst all this precious content of enjoyment? Well let’s start with the game’s method of installation.
Coming close to ten years since the launch of Steam, PC gamers were no longer burdened by the need of physical discs in order to play their games. While some developers over that time period opted for the idea of disc based installation while still requiring you to insert the disc in order to play, most of them threw this idea out the window and went for a one time installation via an activation code.
Milestone S.r.l. on the other hand decided to be negatively old school and required that I install the game from it’s disc, while still having me insert it every time I wish to play.
Two things the studio needs to take note of here: A. This is the year 2014, and B. There’s no need to inconvenience the player with noisy DVD-drives when we live in a technological world dictated by mandatory hard drive installations. Adding injury to insult for not taking advantage of modern technology let alone PC hardware are the graphical options given to PC gamers.
Employing a method of incompetence through the use a game launcher, which acts as barrier of entry between me and the actual game is where these lackluster of options reside. With nothing but the basics of V-sync, resolution choice, high quality AFX and high resolution textures, the game falls flat on it’s face with the potential of even giving the impression of something beautiful to look forward too. While v-sync is a must to eliminate screen-tearing the game doesn’t look all that bad, but with that being said it’s clear it should look better than it actually does. Especially for a racing game which by no means is demanding.
One thing in particular, I really have to question though is the developer’s understanding of high resolution textures. There wasn’t one thing within the game that displays gorgeous textures of any sort, and while the bike and character models are quite accurate and look reasonably good, the game isn’t going to turn any heads.
This lack of visual quality also extends into the game’s tracks and environments. Racing tracks look fairly bland, the backgrounds outside the stadiums are non-existent, and the NPCs that make up crowds in the stands may as well be dead. Cardboard cut-outs are not cool.
This is a real shame as it’s gameplay is so damn impressive and gives you plenty to do. Up until now I still await a game that visually exceeds the level of detail and over the top eye candy that Codemasters did so well with GRID 2 and GRID Autosport.
Visual inferiority aside MotoGP 2014 is without a doubt an enjoyable ride that succeeds in delivering great gameplay, immersive entertainment, and unlockable content using the true method of learn as you play progression. MotoGP constantly gives you a reason to play and it feels rewarding. Becoming better the more you play there’s enough gameplay modes to take part in, and more so than I’ve seen from the majority of the car games available.
An enjoyable progression system combined with unlockable riders and bikes motivate the player to ride on.
Poor visuals and a failure to stay up to date with modern technology inconvenience the player as much as it embarrasses the developer.
|Posted by Admin on July 4, 2014 at 3:55 AM|
Through colourful curtains, rotating ducks, and an artistic background of hand-drawn illustrative stages, Battle Princess of Arcadias waste no time in plunging the player directly into the heart of the game. This was both pleasing and enjoyable as opposed to sitting through a ten minute cut-scene, and an hour long tutorial fueled by over complex game mechanics that most JRPGs seem a custom to.
Known as Plume the declared protector of the kingdom of Schwert, The Princess’ loyal squire known as Del, is slayed by a forest dragon and it’s up to the player to finish what Del started. After a brief tutorial of basic and strong attack buttons, player navigation, and a simplified item system, the player is required to hack ‘n’ slash the beast to it’s demise and become familiar with the controls.
Heading into a short cut-scene which introduces Raltz, the princess’ squire replacement due to Del’s death this is where the game truly begins and we become more familiar with the Princess’ character and those who will accompany her throughout the game. Seeing how Raltz has never been a battle and his scared stiff to the idea of even picking up a sword, it begs the question of who is going to be protecting who.
However, despite the desperation and imminent threat the game tries to present to the player, of dangerous monsters and such roaming the lands, the characters fail to portray this. Characters are cheerful and colourful in personality and smile through every encounter.
The princess enjoys the idea of monster slaying and appears to live in a dream world of her own, largely oblivious to what’s actually taking place around her. Aside from mythical monsters of dragons and giant birds, Battle of Arcadias presents a norm inwhich talking ducks serve at the princess’ royal hand, and keep the player up to date with all the mishappenings taking place within the kingdom.
Battle Princess of Arcadias plays as a 2D side-scrolling hack ‘N’ slash inwhich the levels are decided through the navigation of a hub-based map, within the princess’ kingdom. Playing as a battle party of three characters, with the choice of characters expanding as you progress through the game and meet these wonderful and distinct people. All characters level up through battle by the use of skills and abilities in order to remain distinct and useful for different battle situations.
Experience points, gold, items, and score counts are registered after completing stages, then ranked upon a standardized grade of A, B, and C. The player is then allowed to reap the items gained from fallen enemies and put to good use should they not wish to sell or trade them. Something that’s unique about the game’s combat system is the use of brigade formations. This feature allows the player to set on-the-fly formations for supporting NPCs that aid you in battle.
Attack formations, defense formations, and the choice to retreat, all place different effects on how the brigade moves in battle and raises certain abilities dependent on the chosen formation.
This adds a certain strategy to the game and is important when engaging in boss battles. As the use of NPC assistance builds up a power gauge, which is required for the use of special attacks known as showdowns. During showdowns the player needs to button bash as fast as possible within a given time limit.
A cinematic attack sequence then takes place in which a significant amount of damage is inflicted upon the enemy. This keeps the battle sections of the game from becoming boring and repetitive, while also looking visually stunning and exciting.
It’s important to work as a team while switching between your chosen team mates on the fly. Changing team mates is also crucial to the combat system as each character has his or her own unique weapon that may prove to be beneficial given a certain distance from your enemy. It’s also worth pointing out that since each character has their own health bar, upgrading each of them is quite necessary to the improvement of combat as well as your overall progression.
The failing of boss battles however seem to have no consequence for the player and you are free to repeat the battle or visit other locations in the game. There feels no rush or pressure to complete objectives in the game, and while this feels like a great implementation and serves as a good opportunity to stock up on potions and upgrade your weapons. The feeling of having no repercussions for failed battles seems like a missed-step for delivering new situations in the game, whether it be perma-death for NPCs or an adverse effect of the boss gaining it’s own set of skill points and holding it’s own sense of progression.
When the player is not taking place in battle, the kingdom’s village is free to roam about, where the player can visit the weapon-smith, item merchants, and barracks. While this hub is fairly limited in navigation and is simply a ten step system of moving the character back and fourth between each location, it seems to be attempting to replace a menu system in order to keep the player immersed within the game’s world. At these stores the player can buy and sell different items, as well as upgrading, and equipping different weapons for each member of the battle party.
As every location in the game is navigated through a 2D stage in which you move from one stage to the next, by walking left to right out of the screen, this often sometimes feel time consuming and pointless. It also breaks the idea of becoming immersed within the game’s world, when you’re presented with a world map pointing out your location. It’s a very strange clash as the map gives an illusion of freedom but the game is explored by 2D side scrolling.
Making use of an illustrative and colourful art style, Battle of Arcadias is very similar to most JRPGs, and this means it doesn’t do much in the way of standing out against them. While it’s visually pleasing and the use of colour works great amongst its still backgrounds is contrasting to it’s dynamic stage of battling characters and cartoonish explosions, demonstrating a sense of speed and player engagement.
While there’s nothing bad to say about how good the game looks, sadly that’s all there is to it and just like ever other JRPGs the only thing that sets this game apart from the other games to an outsider looking in, is the game’s characters, story and gameplay mechanics. While the game’s mechanics are enjoyable and simple enough to engage with, the battle sections of the game are frankly the only sections of the game that actually seemed worth playing. That’s precisely where the game’s strength lies and holds it’s only reason for true existence.
Character interaction is evident throughout the entire length of the game, and while this goes on for many to many hours, these characters did nothing worthwhile to keep me invested or even care for that matter for the end result of the game. Will Raltz eventually man-up? I didn’t care. Will Plume progress beyond her own fantasy world of pastel coloured flowers and hearts that flow from her head? I wasn’t sure and I didn’t care enough to look forward to it.
The only thing outside of the pretty yet mediocre art style which is common at this point to games of the same genre, was it’s use of items and NPCs when engaging in battle. Everything else outside of fight sequences felt like a drag, and I couldn’t be more grateful enough for the automatic skipping of cut-scenes, which can be set directly from the game’s option menu.
There was always an imminent feeling of ” I’ve played this before” and aside from the obvious visual traits that the game possessed it occurred to me just how bland and mediocre the game’s storyline was, with it’s use of fantasy creatures and a chosen warrior aided by an unskilled accomplice.
It’s nothing new and there’s nothing refreshing that says it’s worth anyone’s time amongst the enormous amount of JRPGs out there, other than general enjoyment for this genre of games and it’s satisfying combat system. Battle Princess of Arcadias isn’t a bad game, it just borders on a thin line of being a good one, while stumbling over to being cast as generic.
|Posted by Admin on June 26, 2014 at 12:30 AM|
A video game based on The Legend of Korra TV show is in the works, Activision has revealed.
The console release – for PS4, PS3, Xbox One, Xbox 360, and PC – is being handled by PlatinumGames. This version is a third-person combat game and features a story written by Korra scribe Tim Hendrick.
The Korra game will take place between the series’ second and third seasons. You’ll be using the character’s fire, earth, air, and water elements in combat to fight familiar enemies such as Mecha Tanks and Chi Blockers, in addition to other Benders in the 3-on-3 Pro-Bending arena.
A separate Korra game is in the works for 3DS, developed by Webfoot Technologies. On Nintendo’s portable, The Legend of Korra is a turn-based strategy title that puts the “focus on tactically maneuvering Korra and her allies on the battlefield.”
The Legend of Korra video game launches this year.
|Posted by Admin on June 25, 2014 at 4:30 AM|
Deep Silver is preparing a new version of Saints Row IV. The publisher intends to ship “Saints Row IV: National Treasure Edition” – a package containing the original game and all DLC – on July 8. Pricing is set at $29.99.
|Posted by Admin on June 25, 2014 at 3:55 AM|
Respawn Entertainment published a new post on the Titanfall website covering the game’s fourth update. A release date hasn’t been determined yet, but the patch will be going live on all platforms “soon”.
You can find a full overview of the update after the break.
Featured Game Mode – We’re introducing Featured Game Modes into our playlist rotation. These are game modes that will be available for a limited time only. New Featured Game Modes will be introduced periodically to replace any outgoing Featured Game Mode. Our first Featured Game Mode is Marked For Death, and Wingman Last Titan Standing will follow shortly after.
Marked For Death – A player on each team will be marked for death! Kill the enemy mark while protecting your teammate.
Titan Burn Cards – 14 new burn cards that add amped Titan weapons and enhanced Titan abilities. You won’t lose your selected Titan Burn Card if you die as a Pilot, only when you die as a Titan. There is an orange highlight around Titans that have Burn Cards equipped on the Titan Counter HUD and Titans with active Burn Cards have an indicator near their health bars.
Titan Insignias – Want to show off your accomplishments? You can now select from a host of emblems to customize your Titan. Insignias are unlocked by completing challenges but if you’ve already completed the requirements, that emblem will be ready to use when the update installs. Two emblems come courtesy of Penny Arcade (thanks, PA!) and another recognizes users who completed the “Gooser” challenge the hard way.
Matchmaking – We’ve made improvements to matchmaking & team balancing. Now, teams are rearranged just before the level loads, to further balance the teams’ skill and player counts. You’ll notice that you’re greyed out in the lobby until teams are set. You’ll also notice “Connecting…” as players join a match.
Titan OS Voices – Players now have 3 Titan V.O. options to choose from including the classic “Betty” as well as Jeeves and Lisa.
More Titan OS VO – New helpful warnings and observations from your Titan.
Challenge Tracker – You can now select which challenges you want to work towards and find them easily. You can review your tracked challenges during a match by bringing up the in-game menu.
Lobby Music – The ability turn lobby music on or off.
Updated Menu Art – Menus get a new coat of digital paint with additional art. The Main Menu background movie has been updated as well.
Audio – Killing a Pilot now plays a special sound effect to the killer and unique sounds are played when killing a Pilot or Titan via Titanfall.
Auto-Titans – Your Auto-Titan will now use all Titan abilities. If you’ve equipped electric smoke, it will deploy electric smoke when it gets rodeo’ed. If you’ve equipped the particle wall, it will deploy a particle wall when it is under fire.
Rodeo – You now see the name of the Titan you rodeo.
Burn Cards – You’ll notice a Triple Burn Card selector on bottom right of the HUD after you die. It’s a reminder to use your cards and a convenient way to select them.
Burn Card overflow protection – To protect players who have a full Burn Card deck from losing the opportunity to earn valuable rare Burn Cards, you may now exceed your maximum deck size. However, you must discard down to a legal deck size before you arm new Burn Cards. To make this less obtrusive, the maximum base deck size has been increased from 26 to 46.
Burn Card Deck Limit tied to Gen level – Maximum deck size is increased by 6 cards per gen on top of the base 46 with a maximum of 100 for Gen 10.
Drift Guard – New “Movement Drift Guard” gamepad setting in options.
Unlocks – You’ll still be able to unlock the Stryder and Ogre chassis by playing Campaign, but you can also unlock them in normal MP modes. The Stryder will unlock at level 15 and the Ogre at level 30.
Win/Loss Streak – Your win/loss streak for the last 10 matches is now displayed in the lobby over the image of the next map.
NEW FEATURES (X1)
Achievements – If you bought the Expedition DLC for Titanfall you have a new set of achievements to unlock by playing the DLC maps.
BUG FIXES (All Platforms)
Fix for no music playing when you join a match late.
Fix for Sonar Burn Cards not showing during kill replay.
Fix case for when “Titan Locking”/”Pilot Locking” indicator goes away.
Fix not being able to rodeo a Titan doing a synced melee kill.
Corporate: Restored Victory/Defeat music at end of match in Corporate on Campaign.
Fix for getting stuck in Titan deploying nuclear core and nuclear core not doing full damage when right next to Titan.
Fix cases where disembarking player directly from a Titan into the dropship leaves that player behind.
Fixed players not ejecting from where the Titan is if they dash while auto-ejecting.
Fix for Flyer ragdolls disappearing.
Fixed cases where punching would make a Titan fly. You might remember this one from being featured on Kotaku.
Fixed the Smart Pistol being unable to lock-on when the frame rate is low. (Thanks for reporting this one, forums!)
Fixed the Smart Pistol not being able to hit crawling Spectres.
Fixed occasional issue where Titan rodeo kills were not counted towards the Brain Surgeon challenge.
Fixed a case where player jump jet effects would spawn endlessly.
Fixed a crash when attempting to necksnap a Pilot who is rodeo’ing a Titan.
Fixed a crash involving Sonar.
Fixed being popped into Spectre tubes on Corporate after jumping off from a rodeo.
Fixed water not fogging properly.
Fixed cloaked players being too visible in heavy fog.
Fixed satchels skipping doomed state when set off with smoke.
Fixed hitching and fast forward motion when game has been running for a long time.
Fixed tearing happening more often than necessary when running close to 60 fps.
BUG FIXES (PC)
Fixed crashes related to fullscreen mode.
Game window supports minimize.
Game minimizes when switched out.
Added very cheap low-quality water technique for min-spec PCs.
BUG FIXES (Xbox One)
Fix for issue where going into XBox menus causes 2 music tracks to overlap.
BALANCING (All Platforms)
In this update we’ve made a few changes to Pilot weapons and Big Punch to ensure proper balance. Some weapons, like the Hemlok, were barely being used while other weapons were slightly overpowered. We’ve done another round of balancing based on feedback we’ve received from inside and outside of the studio. We’ll continue to listen to our community in regards to weapon/game balance and thanks for sharing all of your feedback with us. Here are the changes we’ve made this time around:
Satchels: Satchel damage has been reduced against Pilots only. They will still kill a Pilot caught close to the center of the explosion, but the fall-off is more severe now, allowing Pilots that are far from the satchel to survive more often than they currently do.
Shotgun: The shotgun now does a little bit less damage at midrange. It was proving to be able to win fights that it should lose when at this range. We also fixed a bug where the cursor would turn red, indicating it will hit an enemy when the enemy was actually outside of the range of the shotgun’s max distance.
R101: This weapon was designed to be an all-purpose weapon, and it does that quite well, too well, even. We’ve slightly adjusted it to make it a bit more uncomfortable to handle and hit targets at long distances. It will kick a bit more when fired but the effects are subtle enough to only be felt at long range. We’ve also reduced its mag size from 30 to 24. The extended ammo upgrade brings it from 24 to 30 (it used to go from 30 to 40).
R97: While it already had a higher rate of fire than the CAR, the R97 was pretty much inferior in all other ways. We’ve upped the RoF even higher to make it handle up-close fights better than it did. It also has the fastest time into ADS (aiming down the sights) now. The biggest change, though, is that it now does a lot more damage than it did when rodeo’ing, making it a better choice for Pilots who enjoy taking on a Titan. It is now the second best weapon to use when rodeo’ing Titans (behind only the LMG).
Hemlok: The Hemlok was one of the least popular guns in the game. Its role was intended to be the long-range assault rifle, but it wasn’t doing that quite well enough. We’ve made it so that it is never more than 4 bullets to drop an enemy Pilot (it used to be 5 at long range). The Hemlok will also kick less when fired. The drift when ADSing has also been reduced to allow easier use against long-range targets. The silencer MOD used to take 6 hits to kill an enemy Pilot at long-range, now it is 5.
AMPed Hemlok: The AMPed Hemlok already killed close-range Pilots in 3 bullets, now it will also kill long-range Pilots with 3 bullets.
G2: The G2 now kills Pilots with 3 shots, always. It used to take 4 at range. The G2 has slightly less kick now as well. When the silencer is attached, the G2 will always kill an enemy Pilot with 4 shots whereas it used to be 5 at range. The clip size has been increased when the match trigger attachment is used to give you 12, rather than 8, rounds per magazine.
AMPed G2: The Amped G2 will always kill an enemy Pilot with 2 shots now. It used to take 3 at a distance.
Titan Plasma Railgun: The FOV, while ADSing, has been pulled back some to allow players to keep more of their surroundings in focus. This makes it easier to maintain your “charge” while tracking enemy targets.
Big Punch: We’ve taken a look at complaints about the Big Punch kit, and decided to adjust it. Big Punch was especially problematic when an Ogre was dealing the punch. It did enough damage to destroy the shields of a Stryder and still do a chunk of damage to the Stryder’s permanent health. Spamming Big Punch as an Ogre also let it travel around at speeds higher than intended. As such, we’ve decided to weaken Big Punch’s effects significantly when taken as an Ogre. The Atlas and Stryder didn’t need as large of a change, so we’ve only made small adjustments to Big Punch’s effect when applied to the Atlas and Stryder chassis.
|Posted by Admin on June 25, 2014 at 3:25 AM|
Riot Games is on the verge of updating Summoner's Rift, one of the best known levels contained within its 65-million-player online game "League of Legends," and wants its audience to understand how things are changing for the better. 'League of Legends' prepares to update best-known map 'League of Legends' prepares to update best-known map
First released in October 2009, Mac and PC game "League of Legends" leveraged the popularity of online team game "Defense of the Ancients" (aka "Dota") and helped pioneer a tier of polished and profitable free-to-play titles with worldwide appeal. Annual tournaments lead to a shot at the game's million-dollar prize pool for the very best players, most of whom form professional teams, with staff and coaches onboard to help maintain peak performance. Now, classic map Summoner's Rift is about to receive a number of tweaks designed to make it more accessible than ever before. Enhanced design means it's easier to see where characters are and where they can go, as well as the location of hidden shortcuts.
Different areas of the map have been given clearer identities, making it easier for players to orient themselves and work out where they want to head next in order to find monsters to battle or opposing team members to engage in combat. "We want Summoner's Rift to be the place we play together for years to come," explains the latest trailer, introducing a painterly art style that departs from the hallmark "LoL" look, as well some more expressive animation tweaks.
Among them, bigger monsters get more elaborate visual identities, with the Rift's Dragon and Baron given special treatment, emphasizing their status as the map's biggest scalps and helping players decide how best to prioritize their game time. Riot's goal is to make sure the updated Summoner's Rift runs as well as the standard version, ensuring "League of Legends" can maximize its audience in the face of competition from "Dota 2," which launches its 2014 World Championship on July 18, boasting a fan-funded prize pool of $9.9m and rising.
|Posted by Admin on June 24, 2014 at 3:05 AM|
Pre-orders have opened on Steam for Don Bradman Cricket 14; you’ll save 10% on the $49.99 cover price by getting in ahead of the June 26 release date.
We’re all very excited for this effort from Big Ant Studios because it was delayed significantly, which hopefully means it’ll be pretty good as a result. Surely it can’t be as bad as its only real rival, Ashes Cricket; the latest release was so wretched publisher 505 Games cancelled it after launch.
|Posted by Admin on June 24, 2014 at 2:40 AM|
In addition to first-person movement, the new Mirror’s Edge will also emphasize refined first-person combat, according to DICE general manager Karl Magnus Troedsson.
He told CVG in a recent interview:
“What I can say is that if the last game focussed on first-person movement, it was definitely shown in the movie here that the DICE team will be focussing on first-person combat as well, to really nail and refine that.”
Magnus Troedsson additionally mentioned that Mirror’s Edge trailer featured much earlier footage than EA has generally released in the past. While it had some missing textures, DICE felt it was more important to show “the movement or the message of what we’re doing”.
“Fans of the game will just have to wait and see until we talk more about the actual game is and the vital mechanics of it. We’ve shown the combat and movement now, but there’s so much more to talk about. What I can say is, this is not just going to be the same game as the last one. We’re building Faith for a new generation.”