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Replay – Body Harvest

Jeff Cork — Sat, 25 May 2013 13:00:00 GMT

Grand Theft Auto III was the first entry in the series to feature a 3D open world, but it wasn't the first time that the development team tackled the concept. That honor goes to the N64 game Body Harvest, which DMA Design released three years before GTA III. Watch as Reiner, Dan, Tim, and I go on a bug hunt and learn a thing or two about maps.

Body Harvest was a long-delayed game that featured a hero who could battle buglike invaders on foot or in a variety of vehicles. It hasn't aged particularly well, but it was ridiculously ambitious for the time (1998) Our adventure meanders a bit, thanks in part to a few issues with the game's navigation system (Tim was on the sticks!). As bad as we thought the UI was in Body Harvest, it did little to prepare us for the roulette game. That one's an indecipherable mess that must be seen to be believed.

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Check out more episodes at our Replay hub.

CosBlog # 84: Cassiopeia by Jerry Polence

Meagan Marie — Fri, 24 May 2013 20:30:00 GMT

Every once in a while I look at a piece of character art and come to the conclusion that there isn’t a way to faithfully manifest it into reality. I thought Cassiopeia was a character that transcended into movie magic territory, but Jerry Polence and her cosplay crew proved me widely wrong.

The build was carefully engineered so to be lightweight and travel safe – each segment of Cassiopeia’s tail nests inside another so it can jetset with Jerry to conventions worldwide. Color me impressed!

Who: The Character
The character is Cassiopeia from League of Legends in her Desperada skin!

Why: The Decision
The organizer of the International Cosplay Day Singapore celebration asked if I could cosplay something from League of Legends. I was happy to oblige. Since my guy and I play the game together, and we both like Cassiopeia out of the many champions, it was a good sign when the organizer asked. I like snakes in general, because even with no arms or legs, they are able to navigate ever so gracefully. Plus, the irregular black stripe design on the tail actually makes it feasible to segment the tail into sections, making it easier to pack for the rigorous travel schedule I had ahead.

What: The Process
One big factor that the team had to consider while making it was the fact that I would be traveling extensively with a very bulky costume. With that in mind, we planned the design for over a month, extensively communicating online since costume production team, Project 8, was in the Philippines at the time while I was in the USA. The actual construction time was about 80-100 hours with three people working on it for two weeks.

Design-wise, two things inspired it. First, it was inspired by a retractable water cup, so each segmented part can be tucked inside the bigger pieces. The segmentation lets it be packed away in a box complying with aviation standards. It also had to be light, weighing a total of 7.3kg or 16lbs 1.5oz total when packed. Secondly, the design was inspired by a wooden Asian snake toy, with the tail undulating depending on which direction I go, pretty much like the toy.

Material-wise, it was made from stretch black velour for the gloves and the top layer of the corset, satin for the skirt, big-headed single fasteners for the detail on the hat, and resin for the big gems on the hand. The neck piece, hip pieces, claws, tail, sickle, hat, and corset were all made from lightweight "rubber sheets" (as they are called in the Philippines). Rubber sheets are very similar to craft foam, but these are denser, thicker, and more durable. It's the same material used for flip-flops. Then we used the usual spray paint for the paint job, and a soldering iron to engrave scales on the tail. Rubber sheets are easily repairable, which incidentally a small accident happened, and it needed repair right before I went onstage at ICDS!

Overall it was a hard costume to make, with lots of tedious planning involved, which paid off in the end. It successfully travelled to two continents, three different countries, and passed through international airport security eight times in a span of a week. Price-wise, the materials themselves are cheap. It's the labor of love that beats everything, so I would price the costume at $600. From assembly, make-up and all it takes about two hours to put on.

More facts about the costume can be found in the costume assembly video on my YouTube channel here.

Where and When: The Debut
First it had a photoshoot at Intramuros, Manila Philippines on Thursday, August 23rd, 2012. It's an old Spanish city built in the 1590s, so the area looks very close to the setting of the game. Present were five members of the "No Na Me" cosplay photography group. Mark Alvarez and Clark Navarro from Project 8 and my manager Mike Abundo were there to assist, since it was my first time actually wearing everything and we had to travel from one spot to another. Right after the eight-hour shoot, the costume was packed away for the flight to Singapore the next day. The costume debuted at International Cosplay Day Singapore that Sunday. I then wore it at PAX Prime Friday that same week, at the League of Legends North American Regionals, at Seattle, USA.

Links: The Cosplayer
Personal Website
Facebook
Twitter
YouTube

Costume Production: Me, Mark Alvarez, and Clark Navarro
Talent Manager: Mike Abundo

The Gallery
Kira Hokuten Photography, Jhe Photoglapiruu, Jumpshot/Photography, Dreamshot Photography, JoviClaire Photography

Miss the past few CosBlogs? Check out the CosBlog Hub for a full archive of past costumes.

Not A Review – Neverwinter

Adam Biessener — Fri, 24 May 2013 19:35:00 GMT

Cryptic’s latest probably isn’t what most would picture as a Dungeons & Dragons MMORPG, but it works surprisingly well as a multiplayer fantasy action game. Plus, Neverwinter’s powerful creation tools have already borne delicious fruit in the form of player-crafted adventures.

The last two titles from Cryptic Studios, Star Trek Online and Champions Online, left me cold. Fourth Edition Dungeons & Dragons is a weird departure for the venerable tabletop role-playing system. The idea of combining the two into a free-to-play MMORPG didn’t exactly fill me with confidence, but Neverwinter succeeds despite its questionable provenance by not hewing too closely to either side of its heritage. More of an action game than a tactical RPG and more of a dungeon-crawler than an MMO, Neverwinter has an identity of its own.

The forgettable story centers around the aftermath of the devastating Spellplague in late-period Forgotten Realms canon, and a subsequent undead siege that threatens the bustling Sword Coast city of Neverwinter. The single storyline that runs from character creation to endgame dungeons casts you as the hero who delivers the city from its ills, ignoring the MMO part of the game in classic hand-waving fashion. The uninspired questing isn’t awful, but the only use I have for the boilerplate fantasy adventuring in Neverwinter is as a backdrop for the genuinely entertaining combat.

The immediate gameplay is closer to Guild Wars than anything else out there. Like in ArenaNet’s exceptional franchise, avoiding attacks through positioning, lining up area-effect abilities, and juggling cooldowns are all critical skills. The strategy ends up being “sloppier,” for lack of a better term, but the chaos is fun in its own way, especially when every build of every class throws out explosive attacks that would be laughably overpowered in any other MMO.

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Nearly every non-trivial fight (read: dungeon bosses and not much else) involves waves of minions that must be dealt with while not letting the main boss kick anyone’s face in. The general idea is to mash your most powerful attack that isn’t on cooldown, dodge like a madman to avoid big-windup telegraphed attacks, and slap any loose monsters with whatever disabling effects you have available. Forget “tank-and-spank,” because even the Guardian Fighter can’t really tank in any meaningful sense and encounters are too chaotic to control anyway. Fortunately, every class has built-in mechanics that let them largely survive on their own without relying on allies to bail them out.

Player-versus-player matches channel the exceptional combat well, with two important caveats bringing down the overall experience. The emphasis on movement powers, ground-based targeting, and manual dodging strain Neverwinter’s netcode to the limit, even in these instanced five-on-five matches. Expect to curse at your screen as the game regularly fails to register a hit for a spell that looked like it connected on your screen. Also, the general wonky class balance (even by just-launched MMO standards) is a particular problem in PvP. Pity the poor souls playing fighters.

Combat is far and away the best thing Neverwinter has going for it. The ancillary systems that make up an MMO are mediocre at best. Gear is hideously boring, with passive stats that have tiny individual impacts on your character’s abilities. The auction house has been badly broken for most of the time it’s been implemented, with searches often returning nonsensical results. An exploit even allowed players to place negative-value bids that both won auctions and sent them the specified sum of money. Leveling is well-paced but sadly lacking in choices until you’re over halfway to the level cap, and even then you’re mostly choosing between small passive stat boosts and which flavor of “attack” or “disable” you prefer. Crafting is built around a neat paradigm that has you sending minions on offscreen tasks, but creating any worthwhile gear requires an absurd amount of grinding and effectively mandatory real-money purchases.

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The economy is one of the worst I’ve seen in years of playing MMOs. Two in-game currencies (astral diamonds and gold) are used for different items and services, and the real-money currency (zen) can be spent at the cash shop or bought from other players for astral diamonds. Most things worth spending astral diamonds on cost obscenely high amounts that require either selling rare drops from endgame dungeons to other players, purchasing via real money, or months of grinding. Many all-but-obligatory convenience items, like inventory and bank space, are extremely difficult to come by except through real-money purchase. The whole system is a hard-to-understand mess, and layers pointless complexity onto every phase of the game for no seeming purpose other than to sow confusion in players.

I’m not generally one to moan about publishers pushing real-money purchases in free games – these things cost money to make, and you’re getting the game for free – but Neverwinter grinds your face into its business model with increasingly uncomfortable regularity as you progress. Crafting is one notable area where it’s nearly impossible to make effective progress without dropping cash, but it’s hardly the only one. I find the ubiquity of blind-purchase “grab bags” particularly distasteful, preying as it does on a well-known foible in human psychology to encourage players with poor impulse control or self-discipline to spend more money. You still get an awful lot of game for free here (and thank goodness no energy meter or dungeons-per-day limit exists), and you can avoid most of the cash purchases, but the grab bags are pushed at you with distasteful frequency.

The powerful Foundry tools allow players to create modules for their fellow adventurers to take part in, and Cryptic smartly built it to scale content to the user’s level and give reasonable rewards in XP, money, and loot. My experience with it has been mixed, but the best player-created adventures are better than any of the “official” content, and the framework allows authors to be creative with branching paths and scripted enemy spawns. Finding the good stuff is still much too difficult, but Cryptic has acknowledged that problem and says that a better system for surfacing quality player-created content is in the works.

Neverwinter isn’t perfect and it’s not at all what I expected, but it’s fun. Each class is amusing in its own way, and blowing apart enemies with powerful skills is a blast even when the narrative excuse for doing so is so thin as to be translucent. Approach this as more of a multiplayer dungeon-crawler with the potential for cool player-created content than as a true long-term MMO with an endless endgame, and you shouldn’t come away disappointed.

For more on Neverwinter, check out our recent podcast episode dedicated to the game.

A Beta Open For Business

Neverwinter is still in “open beta” as of this writing. However, letting the public play, taking their money in the cash shop, and committing to having no further character wipes before “full” release sounds an awful lot like a game being “out” to me.

Tales Of Interview: Producer Hideo Baba Discusses Xillia, Bringing More Entries Over

Kimberley Wallace — Fri, 24 May 2013 18:00:00 GMT

Action-filled battles, bonding characters, and fantastical backdrops have been Tales' calling cards. Recently, the franchise hit its benchmark 15th anniversary. With Tales of Xillia on the horizon, we dive deeper into the upcoming release and take a look at the series' evolution. We had the pleasure of interviewing producer Hideo Baba, who discusses the push to bring more titles to the U.S., the new direction of Tales of Xillia, and how Namco Bandai sustains the Tales legacy.

We're seeing many RPG franchises fade. Why do you think the Tales series has lasted 15 years?

The unique evolution in the game design, the new gameplay provided for each title, the theme described in the storyline, the way of portraying the world, and the creation of attractive characters that play an important role in the fantasy world - I consider these essential elements of the Tales of series. They have been working together with the new features suited to the times to last for more than 15 years.

What are some of the challenges of keeping a series fresh after being around for so long?

What I always keep in mind is, "the reassurance in the freshness." This means I always consider the best balance between innovation and the basic strong points of the series, which allows [players] to enjoy the basic features as well as the new gameplay with ease. For example, the storyline and the world were created from scratch to enhance the brand new fantasy world and theme for each title, though some titles such as Tales of Xillia and Tales of Xillia 2 are set in the same world as an exception. On the other hand, we develop a battle system for every title where anyone can enjoy it with the simple and real-time control and feel exhilaration.

What are some of the biggest changes to the series from the start until now? How has it evolved through the years?

I think the biggest change is [the shift from] 2D to 3D in the game design, responding to the changing times. Tales of Symphonia, which is the most successful title overseas, was the first installment developed in 3D. The 3D graphics allowed us to change the way we express characters' emotions. With each new title, the character designs inch closer to lifelike proportions, so we include additional graphical effects to keep the cute anime and water color-style textures of past games.

Are there any special touches to Tales of Xillia to celebrate the series' 15th anniversary?

The most special touch is the first collaboration in the 15 years between two character designers who worked on lots of Tales of titles before: Mustumi Inomata (Graces, Rebirth, Destiny) and Kosuke Fujishima (Abyss, Vesperia, Symphonia). This first collaboration led us to develop two different main characters in the series for the first time.

In the 15 years, what has been your favorite installment so far and why?

I have been asked this question many times, and I always like to say my favorite title is the first installment of the series: Tales of Phantasia. Tales of Phantasia is the root of the 15-year history, and where the series' basic features were solidified.

Up next: The character creation process, entries that didn't make it over, and the mature art style in Xilla...

Opinion: Do All Video Games Need To Appeal To Everyone?

Kyle Hilliard — Thu, 23 May 2013 18:00:00 GMT

I recently dabbled in Dark Souls for the first time. I watched my wife play a considerable amount of Demon’s Souls, and I sat near former news editor Jim Reilly, who was obsessed with the Souls games. I know a fair amount about both titles, but had never earnestly tried to tackle either game until recently.

After playing Dark Souls, I understand why the games are appealing. The quiet, foreboding atmosphere and high difficulty make the world of Dark Souls an absorbing and scary place to be. It offers a different type of survival horror atmosphere where you are cautious and concerned for your well-being, and every move requires a moment of thought, down to the most innocuous swing of the sword. It’s an intense experience.

It was also an experience I didn’t particularly enjoy. The frequent deaths and unforgiving ammunition boundaries (I had used up all of my arrows by my third of about eight tries at tackling the game’s first boss) means you have to be careful with how you approach every obstacle. Every enemy is a careful decision of resources and combat skill, making it a frustrating game that generally isn’t the experience I am looking for when I sit down to play. After beating the first boss and exploring the first area, I put the game down in favor of a more forgiving medieval open-world fantasy creature beater-upper, Dragon’s Dogma. Dark Souls isn’t for me, or at least it wasn’t the game I wanted to play at the time when I decided to give it a go, but I love that it exists for the gamer who wants that grueling experience.

Increasingly, video game creators are trying to make sure their games appeal to everyone. Even one of my favorite developers, Valve, appears to spend the majority of its development time on play testing its games to make sure that its experiences are brought down to a common denominator where nearly no one will be confused or frustrated. Admittedly, I am part of the problem. I like games that offer a streamlined experience, but I love seeing games that aren’t concerned with being universally appealing.

Capcom’s Mega Men 9 and 10 are other excellent examples of a developer eschewing the idea of games for everyone. Both of those games were created for a very small, but specific audience: players that want a brutally nostalgic trip back to their childhood. I played neither of those games to completion (mostly because my heart tank belongs to Mega Man X), but I love that both games were catered to that specific audience.

The independent scene has become an excellent source of uncompromising titles like this. Games from small, focused teams (or individuals) unwilling to change their games based on the whims of publishers offer incredibly personal experiences that are clearly not meant to appeal to everyone, and that’s okay. It ultimately makes the game more fulfilling for the players that do embrace it. In art, it’s the personal projects that stand the test of time and become a showcase for what a medium can accomplish, and video games shouldn’t be afraid to try and elevate themselves to that goal.

Game Informer Editors React To Xbox One News

Matt Bertz — Wed, 22 May 2013 21:35:00 GMT

Even with gaming taking a backseat to multimedia functionality, Microsoft threw a lot of new information at the public with its Xbox One press conference. Find out what the Game Informer team thinks about the new hardware, television features, cloud computing, and, most importantly, game announcements.

Matt Bertz
Given that E3 is right around the corner, I didn't expect Microsoft to focus on software much during the Xbox One Reveal, so I wasn't disappointed by the lack of compelling game announcements. Instead, Microsoft made its pitch to the masses with a new convergence device. This vision of a connected living room intrigues me - who wouldn't appreciate being able to switch from a football game to Madden in an instant to avoid the Ford F-150 commercial that Fox has playing on repeat every game break? I also love the idea of entertaining myself with something other than a static screen while I wait for a multiplayer match to begin.

After the press conference wrapped, however, I had more questions than answers regarding the feasibility of this bold new future. Getting different devices to talk to one another is hard enough work. Not only must Microsoft make the Xbox One compatible with dozens of different cable and satellite boxes, it needs to create a critical line of conversation with these providers and provide incentive for them to keep these systems simpatico through myriad software updates. Going halfway won't help. If Microsoft only lands deals with Comcast and U-verse, for instance, what would compel a DirecTV, Dish Network, or Time Warner subscriber to purchase an Xbox One? This degree of market segmentation could drive potential customers toward Sony before we even get to the games conversation.

Matt Helgeson
Yesterday's Xbox One unveiling event confirmed that Microsoft's play for the console video game market had always been about the control of the living room. This new system is designed to be an all-encompassing entertainment device, and that message was delivered loud and clear yesterday - perhaps to the expense of the system's gaming potential. But while the hardcore may say that Microsoft has lost focus on its roots, you have to admit that on a technological level the instant switching between apps, live, television is impressive. If successful, it could finally unify your home entertainment system into one clean interface. That's a plus for consumers.

Microsoft claims it has more new games in development that ever before, but we have to wait until E3 to see their big guns. However, if it managed to pack all this next-gen media functionality into a box that also has the capability to be a truly powerful gaming platform, we all win. If its push toward entertainment comes at the expense of their core gaming audience, they will learn how unforgiving the market can be. For me, I'm genuinely excited about a better, more advanced way to consume TV entertainment and I think Xbox One represents a step in the right direction. No one, including myself, is going to pay Microsoft money for a better cable box, and I think the company knows that. However, if I can get a system that will be great for games plus let me skip the hideous and unusable user interface of my Comcast box, I'd be genuinely excited.

Joe Juba
My enthusiasm for any new console is dependent on games. Lots of people feel the same way, which could be part of the reason that reactions to Microsoft's reveal turned negative. If you're a company releasing a video game console, shouldn't video games take center stage?

Microsoft didn't do that, and in that neglect, demonstrated its lack of regard for gamers. We're not the audience that Microsoft was talking to; the company was talking to people who liked Kinect, who don't already own six Netflix-capable devices, and who don't care about whether or not they can borrow games from a friend. Microsoft's reveal was a success in that it showed the company's strategic emphasis on multimedia entertainment, but a failure in the way it further alienated the hardcore gamers it once catered. E3 is Microsoft's chance to highlight the exclusive software that will distinguish it from the PS4, so I'm still excited about the potential of the Xbox One...but it's more in spite of what I saw yesterday than because of it.

Mike Futter
What I saw of the services has me intrigued. I would definitely use the television functions, as I often swap back and forth between live TV and my 360 when downloading content. I'm also hopeful about the game offerings that we'll see at E3. We haven't yet heard from Epic Games, 343 Industries' Halo (game) team, Crytek (Ryse), or Lionhead. I'm interested in learning more about Quantum Break, as I'm a fan of Remedy's past work. Once Microsoft has definitive answers (no matter what they are) regarding used games and connectivity, it'll be far easier for consumers to judge the landscape.

Microsoft has less than three weeks to get its messaging figured out. Yesterday fell apart from a public relations perspective, with different spokespeople offering a variety of answers to straightforward questions. If that happens again at E3 (or if Microsoft fails to provide concrete responses), the backlash is going to be substantial.

Adam Biessener
As someone who hasn't had cable in years and has no plans to purchase it again, I remain unsold on the Xbox One. The majority of the console's capabilities that Microsoft showed seemed to me to be a bunch of things I can already do on devices I already own. I mean, seriously - looking up info on cast members during a movie? Who is in the market for an Xbox One that doesn't already have a smartphone, tablet, and/or laptop that can accomplish that just as effectively? The one thing I saw that interests me is the tie-in to Microsoft's Azure cloud computing platform. That could conceivably be used in interesting ways by game developers to create genuinely new experiences. It seems like a lot of engineering overhead for limited benefit for any multiplatform game, though, so I don't expect to see it used in any real way except in Xbox One exclusives. Sony reaching out to indie devs and embracing alternative business models seems far more useful to me and the games I'm interested in than anything Microsoft said yesterday.

Matthew Kato
I'm starting to warm up to the name and the form factor, but I'm worried what a mandatory, packed-in Kinect peripheral will do to the system's price. On the whole, a lot of the features announced for the system - like the PS4 - fall in the "nifty" category, but don't classify the system as a must-have. I'm sure when all is said and done, gamers will have plenty of great software to enjoy on the platform despite yesterday's TV-centric presentation. That said, I still think Sony's first-party stable of studios is stronger. I'm sure we can expect a few specialty Kinect and casual experiences to water down Microsoft's seemingly weighty declaration of fifteen platform exclusives and eight new franchises in the first year. As far as the used games/online connection debate, there is still too much we don't know to start casting stones.

Jeff Cork
Microsoft has some great ideas for the next generation, but it did a disastrous job of communicating them yesterday. Most of the negative comments and Tweets that I read were from people who felt betrayed at the company's focus on TV and seeming indifference to gaming. This is a video game console, right? Well, sort of. If you haven't noticed that these boxes are more than simple game systems, you haven't been paying attention. Microsoft is in a tough position. It's relatively late in the year for a 2013 hardware reveal, and the company needs to get people interested in its unique nongaming functionality. People who aren't keyed into gaming, in particular, who mighty think it's cool to say "HBO" and have their TV switch to that channel instantly. I'm guessing that Microsoft bet that a few game reveals (including an appearance from the latest Call of Duty) would be enough to keep everyone else busy until a major game-focused E3. That's a bet that they apparently lost. One last observation: Microsoft needs to get its people on the same page on basic items like "Will there be a fee added for playing used games?" When people are getting conflicting reports from various spokespeople - and when a Twitter handle @xboxsupport3 has to step in for a while - it's a sign that things have gotten out of control.

Ben Reeves
Initially I was disappointed with Microsoft's press conference. I wish it had shown more games, or at least shown more of the games that it did show. As interesting as the Xbox One's new TV functionality is, I felt it was a strange way to start a presentation about a new video game console. It makes me wonder if Microsoft has lost its focus. The system itself looks great. I love the design and I'm excited about the new controller. However, I found it silly that Microsoft didn't talk more about the new controller or the new Kinect. Most of the interesting details about the Xbox One weren't in the press conference, but had to be read online afterward. That said, I'm excited to get my hands on the system and play some of its games. But, if Sony doesn't charge a fee for used games, then I'll be buying a PS4 first.

Tim Turi
I leaned toward my Xbox 360 this generation. In the beginning I think this was a combination of the system launching before the PS3 and most of my friends being on it. Microsoft was also smart enough to pack in a headset and let me transfer my Xbox Live account from its first console, making my go-to system for online play this generation. But now Sony is taking online more seriously. The company is including a headset, unlike Microsoft, which is taking the Wii Speak route and having players use their Kinect to communicate. Sony also appears to be implementing an Xbox Live style party system. With the PlayStation 4 correcting its predecessor's mistakes, the gap is closing between the two companies. However, Sony's impressive PS4 showing could be temporary - we don't know everything yet. The company could be delaying the more unsavory details, including used game fees or other hidden tidbits. It's still early, and neither manufacturer has said much about games for the systems. Come E3 we'll have a clearer picture, but I'm leaning towards the PlayStation 4 at this point.

Kyle Hilliard
Presenting new consoles on a platform outside of E3 is a brand new world. Even Nintendo, which has fallen in love with its own Nintendo Direct presentations, revealed its Wii U at E3. Presenting the Xbox One and the PlayStation 4 to the world in an online stream outside of the conference is a new idea in the world of video games, and I find myself considering this when thinking about Xbox One's presentation. Everyone is crying, "Where were the games?" and I can't help that feel that their absence was a calculated shortcoming from Microsoft. This was purely a chance to show off the base features and nothing else. E3, a show devoted to games, is where Microsoft will offer the exciting game-focused bombshells.

Underwhelming is a word a lot of people are using to describe the event, and I agree with that sentiment. We got to see the system and the new controller, which is very exciting, but everything else was blasé. I have a Kinect, but I don't use it, and I am doubtful that will change. I have a cable box and DVR that I have very few complaints about, and realistically I don't see myself using the Xbox One to change channels. Hearing about a new Call of Duty was akin to hearing about a new Madden. The games continue to be fun, but the next iteration in a yearly franchise is not exciting. Finally, even as a Halo fan, I don't see myself watching a show based on the franchise.

The most offensive takeaway for me is the incredibly confusing messaging about the future of used games and always online. I can begrudgingly accept the always-online aspect of the Xbox One considering my current consoles are always online as it is. However, not being able to simply place a game in my console and play, borrowed or purchased, is a problem. One of the main reasons I have always preferred consoles to PCs is the ease of play. Ultimately, I'm not sure what or whom to believe. Even internally Microsoft doesn't seem to know what it is talking about. I am willing to give Microsoft the benefit of the doubt on this issue as we learn more, but it's not looking very good right out of the gate.

Kimberley Wallace
I know Microsoft is saving plenty for E3, especially games, but I wanted more from the presentation. The TV features look nice and all, but they're not a deal breaker for whether or not I get a system. Games are the deciding factor. One thing that got me really excited was seeing the enhanced graphics of Call of Duty: Ghost. The attention to detail that developers can now give to characters models and environments looks promising. One of my biggest complaints with graphics currently is that they fail to capture realistic mannerisms and facial expressions in games. I'm wondering with the superior technology if developers can get it right in the upcoming generation. As an avid fantasy hockey player, the ESPN features to track stats and get alerts on players are a nice bonus, but that's how I feel about a lot of Microsoft's presentation. I just saw bonuses, not selling points.

Ben Hanson
I'm personally not that excited about the Xbox One. The name is fine, the console design is fine, the Kinect is ugly, but the push to appeal to avid television viewers and sports fans does not get my blood pumping. The controller looks great, but Microsoft's priorities don't align with my interest. While it cited gaming as its "beachhead" for the system, it also framed the power of the console as getting them that much closer to "playing real life" through graphical fidelity. I don't care about pores in the skin and imperfections in Forza cars. I would like to see something new in the gameplay space. That all said, it is way too early to write off the system, and I'm curious to learn more about the upcoming games at E3.

Visit our Xbox Reveal Headquarters for complete coverage of today's news.

The Origins Of Infamous

Ben Hanson — Wed, 22 May 2013 19:00:00 GMT

Amidst our coverage of the upcoming Infamous Second Son, we thought that it would be interesting to look back on the creation of the original game in the ongoing series. As a stand-out new IP on the Playstation 3 and a studio-changing game for the talented team at Sucker Punch Productions, Infamous' three years of development is a lot to cover in one video. The team shed light on their other pitches to Sony after they finished the Sly 3: Honor Among Thieves (one of which has a familiar name), the challenges of development, and what the studio learned from its release.

Watch the video below to learn from studio co-founder Brian Fleming and game director Nate Fox about the spark behind the Infamous franchise.

(Please visit the site to view this media)

To learn more about the future of the Infamous series, click on the banner below to learn more about Infamous Second Son.

Rumor Vs Reality: The Truth About The Xbox One

Joe Juba — Tue, 21 May 2013 22:12:00 GMT

Part of the fun leading up to console unveiling is the speculation. Sources of varying credibility release tidbits of unconfirmed information, and gamers are left to guess which rumors will become fact. During Microsoft's reveal of the Xbox One, we finally got confirmation on many linger questions – along with a few surprises. Here's our rundown of the pre-release rumors surrounding the Xbox One and how they hold up to the reality Microsoft presented.

The name is…

Rumor: Xbox Infinity. Xbox Next. Xbox Fusion. Many possible names were swirling around Microsoft's new system. Depending on the week, some monikers seemed more likely than others. Some of them were even "confirmed."

Reality: Microsoft did a good job keeping this one under wraps. "Xbox One" came out of nowhere. However, even if it had leaked early, it might not have seemed credible; it's pretty far out of line with what anyone expected.

Always Online

Rumor: The most odious rumor dogging the next Xbox was that it required an always-on internet connection. The mere mention of this draconian feature, especially in light of the problems experienced during the launch of always-online games like SimCity and Diablo III, whipped gamers up into an irate frenzy.

Reality: Maybe gamers were jumping to conclusions, or maybe Microsoft was scared off by the strong negative reaction. Either way, the Xbox One does not require a constant internet connection to perform its basic functions. Instead, developers are able to use cloud computing on connected consoles, but Microsoft isn't mandating it. Update: Or not. Microsoft is not being clear on its message for the system's connectivity.

Used Games

Rumor: Not everyone buys every game at full price. Some people borrow them or buy them used to save some money, which is why many gamers were apprehensive about the possibility of Xbox One restricting the use of second-hand games. Even so, it was one of the most persistent rumors leading up to the reveal.

Reality: To some degree, gamers' fears came true. Xbox One will play used games, but Microsoft initially claimed that it would require a fee after the original owner. This would make borrowing and buying used much less cost-effective. Microsoft then backed off that assertion, saying that it has "a plan," and the team is "designing Xbox One to enable customers to trade in and resell games."

Blu-ray

Rumor: The PlayStation 3 has an edge over the 360 in terms of disc storage space. That's due to the Blu-ray format, and most rumors pointed to Microsoft swallowing its pride after the whole HD-DVD debacle and adopting Blu-ray discs for the Xbox One.

Reality: According to the system specs, Blu-ray is in. If next-gen games get big enough to bleed onto multiple discs, at least they'll be that way on both consoles this time.

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Chief product officer Marc Whitten talks specifics about the Xbox One

The New Kinect

Rumor: Kinect was a late addition to the Xbox 360's lifecycle. After all of the time and money Microsoft invested in the technology, and practically everyone predicted that a new version of Kinect would be a cornerstone of the company's next-gen effort.

Reality: We knew Kinect was important to Microsoft, but we didn't know it was this important. Not only does the Xbox One come packaged with the new Kinect, but it will reportedly not function without the device connected.

Game Installation

Rumor: Leaked documents indicated that the Xbox One would be able to completely install a game, not using any of the data from the disc itself. At the time, it wasn't completely clear if this was just a more convenient version of the current installation system on the 360 (which installs some, but not all, of the data), or something that would be mandatory for every title.

Reality: Installing your games on the Xbox One isn't optional. It's required. On the plus side, that means that once you install the game, you don't need to keep the disc handy when you want to play. Dual-layer Blu-ray discs can hold up to 50GB and even current games have clocked in above 10GB in data, though, so that 500GB hard drive could fill up faster than you think.

Cable Box Interaction

Rumor: Microsoft has made no secret of the fact that it wants to be consumers' go-to device for entertainment. This, along with the company's past partnerships with Hulu, ESPN, etc, pointed to the possibility of the Xbox One either being a cable box, or working closely with them to deliver programming to users.

Reality: Xbox One isn't a cable box, but Microsoft wants to work closely with content providers in order to make the console a one-stop-shop for a variety of media. That might just be splitting hairs, though; you can watch TV through the Xbox One, and that's really what the rumor was about from the beginning.

Visit our Xbox Reveal Headquarters for complete coverage of today's news.

Live Stream – Resident Evil: Revelations And Xbox One

Dan Ryckert — Tue, 21 May 2013 20:56:00 GMT

This morning is bringing huge news on the next generation front, and we'll be discussing it during our live stream of the newest Resident Evil release. Kyle Hilliard and I will be starting from the beginning of the Capcom title, and we're looking forward to answering your questions and discussing the new Xbox One.

Click below at 4pm Central to watch and join the discussion!

Reader Discussion: Xbox One Or PlayStation 4?

Tim Turi — Tue, 21 May 2013 19:41:00 GMT

Back in February we learned a lot, but not all, about Sony's PlayStation 4. Today we got a similar peek into Microsoft's next-generation console, the Xbox One. We still have a lot to learn come E3, including cost and system versions, but that isn't stopping us from talking about what's looking better at this point.

For me, it's a pretty close call. The improvements to the DualShock 4 controller appear to be narrowing Microsoft's advantage in that department. While I'm excited for both systems, I wasn't blown away by the game announcements at either console reveal. Both companies are focusing on how their machines will become entertainment hubs in our living rooms.

I'm still processing the Xbox One reveal, but I recall being more enthusiastic following the PlayStation 4 announcement. It's been confirmed that the Xbox One requires a fee to play used games, something Sony hasn't confirmed for the PS4. While there is still a chance that the PS4 will implement similar restrictions on second-hand games, it gives the manufacturer a slight edge for me right now.

How about you folks? Which console is more appealing to you right now? Any Wii U cheerleaders out there?

Visit our Xbox Reveal Headquarters for complete coverage of today's news.

Interview With Xbox One's Chief Product Officer Marc Whitten

Ben Hanson — Tue, 21 May 2013 19:16:00 GMT

Game Informer visited Microsoft's campus weeks ago for an early look at the next Xbox console. The day after the company explained the Xbox One, we had some follow-up questions for the console's chief product officer Marc Whitten. Game Informer's senior features editor Matt Helgeson sat down with Whitten and received some further clarification on the new console's unique architecture, television implementation, operating systems, used game capabilities, the redesigned d-pad, and more.

Watch the video to learn all about the Xbox One from one of the system's lead designers.

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Visit our Xbox Reveal Headquarters for complete coverage of today's news.

What Xbox Franchises Should Return On The Next Xbox?

Matt Miller — Mon, 20 May 2013 23:35:00 GMT

With the reveal of the next-generation Xbox less than a day away, we've chosen nearly 20 games we'd like to see come back on the console. We've picked only games that were either Xbox or Xbox 360 exclusives, or those that were best known for their presence on a Microsoft console.

Then we asked the Game Informer editors to vote on the likelihood that each would return, to come up with a (marginally) educated guess of whether our dreams for a new installment in each franchise might come true.

Check out our list, and share your hopes for Xbox games that should come back in the comments below.

Alan Wake
Chance of Return: 35%

The supernatural horror game garnered enthusiastic fans, and the world of Alan Wake seems like it could easily support future installments. However, the franchise probably wouldn't be worked on outside of original developer Remedy, and after such a long development cycle for the original Alan Wake, the team may be ready to focus on something else. That makes a new Alan Wake a possibility, but not an especially strong one.

Banjo-Kazooie
Chance of Return: 45%

The family-friendly bear Banjo and his friend Kazooie made a splash in 2008 with Nuts & Bolts, proving that the action/platform stars could do something new after all these years. Microsoft is undoubtedly eager to make the next-gen Xbox friendly to families, but some kids just don't care too much about these two mascot-like heroes, keeping the likelihood of another installment below 50%.

Blue Dragon
Chance of Return: 5%

The excellent RPG from Mistwalker and Artoon was well loved when it released in the States in 2007. Blue Dragon followed mostly familiar Japanese RPG conventions for combat and exploration, but had some gorgeous music and art that captured the eye and ear. Nonetheless, the Xbox consoles have always had trouble gaining a foothold in Japan, and the audience in North America is limited for these types of games. Plus, a sequel came to the Nintendo DS that did not do well commercially, so the chance that Microsoft will return to this franchise is very small.

Conker
Chance of Return: 10%

The foul-mouthed squirrel got a lot of love in his day for attempting to push a more "mature" approach to character platform games, dominated by poop jokes and cursing. The franchise undoubtedly still has its vocal fans, but we can't imagine Microsoft wanting to put Conker front and center as one of the voices shaping next-gen gaming. Don't expect a sequel any time soon.

Crackdown
Chance of Return: 50%

Open-world, third-person sandbox games still garner big sales, and Crackdown is a franchise that Microsoft can claim all to itself. Next-gen tech could do a lot to play up the destruction and weaponry from earlier installments. Even so, no one would highlight Crackdown as the centerpiece for any next-gen strategy - especially after the disappointing Crackdown 2. The franchise may be left behind as Microsoft focuses on bigger, better-known properties.

Crimson Skies
Chance of Return: 20%

If the fervent dreams of longtime gamers were enough to make a game exist, then we would have had a sequel to Crimson Skies a long time ago. Unfortunately, the excellent flight game is likely to stay in our memories, as Microsoft hasn't made any moves on the property in years. Great potential for social-oriented multiplayer and an exclusive flight game on the console might be enough to bring Crimson Skies back, but we doubt it.

Dance Central
Chance of Return: 80%

Dance Central has been one of the most popular titles for Kinect, and Harmonix is the undisputed leader in the delivery of quality music games. We'd be surprised if we didn't see a new installment on the next Xbox that takes advantage of new capabilities for the next iteration of Kinect. However, any new installments should ideally come from Harmonix, so the timing may depend on that developer's availability.

Fable
Chance of Return: 90%

Developer Lionhead has seen a lot of changes and staff departures in recent years, and the recent Kinect-exclusive Fable: The Journey received poor critical and commercial response. Nonetheless, Fable has been a fixture of the Xbox lineup for years, and RPGs are still popular, so we expect another installment at some point. Will it be one of the first games announced for the new console? That's seems less likely, as Microsoft may aim to put some more space between the last installment and any new announcement.

Forza
Chance of Return: 95%

Most of our editors have no doubt that Forza is coming back; every new console aims to have a quality racing title to hang its hat on, and Microsoft has no reason to back off the successful Forza name. Plus, a pretty car game can be a great way to show off the graphical power of your new console. We predict Forza may be one of the first new games we hear about in the coming weeks.

[Next up: The only game all our editors agree will absolutely be back next generation, plus the Xbox games that should remain dead.]

Test Chamber – Sanctum 2

Kimberley Wallace — Mon, 20 May 2013 23:20:00 GMT

As you can see in my recent review, I was pleasantly surprised with Sanctum 2 – Coffee Stain Studios' newest tower defense game with FPS mechanics. The blend between thinking ahead and in-the-moment kept me on my toes. Right now, you can get Sanctum 2 on PC and Xbox 360, so we wanted to you to get a chance to see it up close.

Outwitting enemies is plenty of fun, so I let Bryan Vore take the wheel, while Andrew Reiner and I discuss what made the game stand out for me. The XLBA version is showcased below.

Are you playing Sanctum 2? What do you think so far?

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Watch every episode of Test Chamber in our hub by clicking here.

From Daxter To Delsin: The Work Of Infamous Second Son's Animation Director

Ben Hanson — Mon, 20 May 2013 19:00:00 GMT

Every game is informed by those that have come before it. Animation director Billy Harper has some stellar titles on his resume, which inspired his current work on Infamous Second Son. Starting out on Mark of Kri for the PS2 (a game seen as a pioneer in 3D game animation) and moving on to the Jak and Daxter series, Harper is now taking advantage of the Playstation 4's horsepower to animate the new protagonist for Infamous Second Son Delsin Rowe.

Watch the video below to learn what lessons from Mark of Kri have stuck with Harper and how the animation in Infamous Second Son will differ from Infamous 2.

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To learn more about Infamous Second Son, click on the banner below to enter our content-filled hub.

Sony's Adam Boyes On The Importance Of Indies

Jeff Marchiafava — Mon, 20 May 2013 18:00:00 GMT

Over the course of this console generation, Sony has made finding and securing creative indie games for PlayStation 3 and Vita a growing priority. From indie-oriented programs like Pub Fund and PlayStation C.A.M.P. to Santa Monica Studio's work with developers like Thatgamecompany and Giant Sparrow, the company has amassed an impressive library of critically acclaimed indie games for its systems. With the release of the PlayStation 4 on the horizon, Sony is working harder than ever to ensure its newest console is an appealing platform for indie developers.

As vice president of publisher and developer relations, Adam Boyes helps Sony find interesting projects and talented developers to pursue, and works to keep them happy when they sign on. We spoke with Boyes to find out what lessons Sony has learned over the years, how the company measures the success of indie titles, and what advantages the PlayStation 4 will offer smaller studios.

What is Sony doing to secure indie games on its systems, and where are you finding these indie games?

Our team's in charge of Pub Fund, and so what developer relations does is we go out to a variety of different shows, consumer-oriented shows, internal ones as well, and we look around at what the cool stuff is. It's also going on Steam, downloading mobile games on iOS and Android, and seeing what developers are up to. So we have a team in our region of about nine people that are full time, dedicated to scouring the earth for cool stuff.

We've heard Sony reached out to a number of developers for their feedback while designing the PS4. Did you speak with indie developers as well?

Yeah, absolutely. It was a big focus. Once we started talking to different developers, what we did is we would bring a bunch of indie developers together and we would meet with them in a group to get their feedback. We prioritized them as highly as larger publishers because we knew that a lot of innovation and creativity is born out of the independent studios. So their feedback absolutely went into a lot of the key decisions as we built the hardware.

It seems like the attention of indie developers has been gradually shifting from the Xbox 360 to the PS3. Are there any lessons you learned from Microsoft's handling of indie developers that helped you facilitate that shift?

I think it was mostly what we learned about ourselves during the PS3 era and from meeting with developers. The Vita was a great place for us to evolve some of our processes, but the most important thing was sitting down with developers over lunch, or over a soda at PAX, and just saying, "Hey, why aren't you on the platform? What's working for you and what isn't?" You know, getting out of our cave. We didn't do a lot of traveling five to eight years ago, and so that was important to us. And then sitting down, working with them, and then saying, "Okay, you might not believe us, but we're going to show you how we're going to improve and evolve." And then coming back to them on a very regular basis.

Minority's Papo & Yo is one of the many indie games supported by Sony's Pub Fund

Sony has invested heavily in Pub Fund. What kind of return have you seen from that investment so far?

We've seen great returns. We've been extraordinarily happy with the results. We are a business at the end of the day, so if a certain program isn't working then it's not like something that we maintain, but it's been very successful for us.

How do you measure Pub Fund's success?

We judge it in multiple ways. Revenue is obviously critical to the business. It's also about the awareness of these titles. We also do customer satisfaction with the gamers and users, and then we talk to partners. The bottom line is no program can be successful if people don't want to come back to it or if they publically speak out that it didn't work for them. And that's where I think accountability is such a critical part of it.

Are you planning to continue Pub Fund?

Absolutely. There's no end in sight for us. It's been very exciting for us. I've only been with the company less than a year and it's a big focus of our department. We're investing heavily like I said, growing the team and developer relations, and then both globally, and finding any way we can to continue to grow and improve the Pub Fund process, and the funding around independent content.

Drinkbox Studios' Tales from Space: About a Blob and Guacamelee are both Pub Fund titles

What else besides Pub Fund does Sony do to help indie developers get their games on your platforms?

A lot of it comes around education. The first big thing is obviously self-publishing. And I think allowing anyone to publish on the platform is a key one; that's the first big barrier of entry. The funding options – we talked about the Pub Fund, whether they want to team that up with Kickstarter or some government funding, which some people have done in the past. Allowing the developer to set their own price, and set their launch timing is really critical. Being open to the business model – so if it's a free-to-play title or microtransaction-based, or subscription, or episodic – all that stuff I think is key. If we don't support a breadth of those things then we won't stay competitive.

And then also working to relieve the barriers of entry. So whether it's supplying dev kits free of charge or waiving patch fees, that's a really important part for us to work with them. And just understanding what their challenges are. Once we understand what their challenges are – we had one developer call us up recently and they said, "Hey, listen. We'd love to have another Vita dev kit." And we said, "Okay, we'll put the request in." And little did they know we had already shipped it out and they got it by 10:00 A.M. the next day. So being able to just really be there for them, being a phone call away to be able to support them.

You mentioned waiving fees for some indie developers and providing extra assistance. How do you decide who gets that extra help?

We haven't charged a patch fee to any independent developer in the last three years, so that sort of defines our process quite well. It's really about what the makeup of the team is, right? Obviously for a big project, when it's a big huge patch that's going to involve a ton of testing, then it's something that we obviously have to apply a lot of resources, but for many of the smaller titles then we have the ability to waive those.

Coming Up Next: Boyes explains what the PS4 will offer independent developers...

The Best Of The Kinect

Kyle Hilliard — Sun, 19 May 2013 18:30:00 GMT

On the eve of what’s coming next for Microsoft and the Xbox, we reflect on one of 360’s experiments: the Kinect.

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The Complete History Of Xbox Live (Abridged)

Mike Futter — Sun, 19 May 2013 17:00:00 GMT

As the sun begins to set on the Xbox 360 and the second generation of Xbox Live, we thought it would be good to look back at the service to see how far it's come. Achievements, avatars, gamerscore, DLC, and Netflix are all part of the evolution, but where did it all begin?

In the beginning…

Before Microsoft raised eyebrows amongst gamers with the announcement of the original Xbox, people were happily gaming over phone lines with 56.6K modems. PC Gamers shrugged when the Dreamcast found success in connecting living rooms to the Internet. They had been playing with one another since before graphics were something people cared about.

However, the groundbreaking Phantasy Star Online showed platform holders that there was a market for online console gaming. Sony and Microsoft both took notice, but went down different paths to bring distant gamers together. While Sony opted for an external attachment (released alongside the first SOCOM title), Microsoft chose to include a broadband adapter inside each black-and-green console.

In 2000, when the Xbox was first announced, Microsoft came under fire for choosing to restrict online access to broadband. According to the Organisation for Economic Co-operation and Development, only 4.4 percent of households in the United States subscribed to a broadband service in 2000. By 2010, adoption had skyrocketed to 68.2 percent.

When we spoke with Microsoft in 2002, we were told that the purpose in choosing broadband was to push multiplayer as far as possible. They didn't want developers to have to dial back their ambitions to work on a dial-up connection.

Every Xbox owner would have the hardware in place to take advantage of Microsoft's broadband service without need of a peripheral, but they'd have to wait a little while. Xbox Live didn't launch until November 2002, which gave gamers an entire year to figure out how to play Halo: Combat Evolved over the Internet.

Thanks to two pieces of software, Xlink Kai and the GameSpy Tunnel, it was finally possible to ask the most important question in online gaming: "Why is that guy crouching and standing up over and over again?"

Voice chat wasn't possible in those early days before Xbox Live, and even when the service did become available, talking with strangers could sometimes be very odd thanks to the since-abandoned voice masking feature. Microsoft's former chief experience officer, J Allard, shared a story when we first covered the Xbox Live rollout.

"In 1999, we decided to do voice. We had eight hardcore gamers come [to Microsoft] to test out the prototype. I [said], 'You guys are going to be the first gamers to hear voice on a console game. Are you ready for it?’ They were like 'Hell, yeah! Bring it on!'

“They were all pumped up and everything, so we sent them off to eight different rooms. I sat in the lobby watching. I had my little headphones and they don't talk to each other. So, I bring them all out and said, 'What the hell is wrong with you guys? Is the system broken? Why aren't you talking to each other? Your lips aren't moving! I know it's not broken!'

“They responded with, 'We don't know each other.'

“I said that I knew that they spent all of their time in EverQuest and ICQ and are constantly messaging people they don't know, but they said, 'Well yeah. But I'm anonymous there. That's just letters on a screen with a *** name. Here, it's my real voice.' I never thought about that. With the exception of telemarketers, you really don't talk to strangers that you can't see or have some reason to meet.”

Before the service was rolled out to the world, I was part of a group of gamers that were selected as beta testers for Xbox Live. For our $50 entry fee, we received a memory card, Xbox Communicator puck, a headset, a slick carrying case, and a one-year subscription to the service (that started on the official launch date). NFL Fever 2003 and Revolt! were the two games included in the kit, and both worked extremely well for testing purposes.

Later on, as a token of appreciation, Microsoft sent beta testers a t-shirt that read "I've got great hands." Unfortunately, this begat an entire community site of "not safe for work" images featuring the apparel.

Allard was true to his word. Xbox Live launched in November 2002. Servers for the two launch titles, MechAssault and Unreal Championship, were flooded with eager fans. The service remained stable for the most part, which is a feat even by today's standards. At the time, Xbox Live was powered by five data centers located in London, Seattle, Tokyo, Redmond, and Tukwila.

More impressive than the system's integrity in those early days, I recall friendly banter and a general air of sportsmanship. The teabagging returned later.

The first Xbox DLC

We take for granted (and sometimes grimace) at the thought of downloadable content. Too often, publishers roll out new content immediately upon release, raising questions about what should and shouldn't be included on the disc.

There was a time when the very concept of additional maps, vehicles, and play modes in a console game seemed magical. I recall downloading my first add-on, a free pack of additional mechs for Day1 Studios' MechAssault. It wasn't long before Microsoft began charging for content.

The first paid DLC also belonged to MechAssault. For $4.99, players could expand the game with two new game types and three new maps (in addition to the mechs, maps, and modes available for free). After all the complementary content, kicking in a bit for some more felt like a fair deal. It wasn’t until later that users became more cautious about value for the DLC dollar as more publishers tested the waters with different types of add-ons.

Back in September 2002, J Allard told us, "We don't expect Activision to nickel and dime you for new levels and clothing." Today, most publishers charge for new multiplayer maps, and Microsoft has the market cornered on new clothing. We'll talk about Avatars later, though.

Next, the Xbox 360 is announced, bringing with it a host of changes for Xbox Live.

Microsoft's Hits and Misses With The Xbox 360 Hardware

Kimberley Wallace — Sat, 18 May 2013 19:00:00 GMT

With Microsoft revealing its next system on Tuesday, the time is ripe to explore what Microsoft did right with the Xbox 360 and where it could have improved. Whether or not the new console carries on the legacies of its predecessor, it's fun to reminisce about these hits and misses as Microsoft prepares to pass on the torch.

Hits

Controller

Microsoft impressed many with its 360 controller; the trigger buttons were ideal for first-person shooters. The controller was not only much more comfortable than the original Xbox's S, it also sported superior button placement. Unfortunately, the d-pad was its weak point, but fixes are available, and Microsoft even released a 2010 silver controller with a twist-up d-pad to help the issue. While the issue was never completely dissipated, at least attempts were made to fix the shortcoming.

Xbox Live

Gamers have always been skeptical about paying for an online service, but once they experienced Xbox Live's superior quality, it convinced many it was worth it; currently, it has over 46 million subscribers. Connecting to matches is quick, drop rates are low, and chatting with friends is smooth for the most part. It could be said that the service brought gamers together in a new way with its accessible features. Microsoft figured out the recipe to creating a solid online community well before Sony by including a headset with consoles, encouraging communication.

Accessing Genre Weaknesses

When Microsoft released the first Xbox, it became a destination for first-person shooters, especially with its Halo franchise riding strong. But Sony remained on top with a stronger variety in its library. For the Xbox 360's beginnings, Microsoft targeted the RPG genre, something Sony's PlayStation 2 catered to more, especially in regards to JRPGs. Microsoft secured games like Blue Dragon, Lost Odyssey, Tales of Vesperia, and Eternal Sonata. Microsoft even shocked people by getting blockbuster Final Fantasy XIII, a series previously exclusive to Sony. While it didn't by any means win the RPG war, it still measured up, and Microsoft's library is much more diverse than it was in the previous generation.

The Multimedia Marketplace

You could say an app exists for almost everything on the Xbox 360; tailoring your console to your interests is easy. In 2008, Microsoft brought in Netflix fans with a year exclusivity deal and then continued to grow from there with Hulu, HBO Go, and a wealth of other apps. It made the 360 more than just a gaming device, but also an entertainment hub, where with a touch of a button people could access tons of TV, movies, and music.

Achievements

Let's face it; we all love that little blip sound as we gaze at,"Achivement Unlocked." Having a gamerscore to show off the fruits of our labor not only gave bragging rights, but also provided new reasons to experience games. Whether it was collecting hidden items or winning battles without taking damage, we worked to obtain that perfect 1,000 gamerscore. While developers struggled initially at what to give achievements for, as time went on, they got smart and made gamers do more creative tasks all for the thrill of watching their gamerscore grow.

Non-Intrusive Updates

Updating a system can be a pain, locking the player out for some time. But Microsoft made these updates go much faster, smoother, and less frequent than Sony ever did with the PlayStation 3. Not having to dread an update is a godsend to gamers; after all, who wants to wait any longer than they to to dive into the next big release?

Adapting Its UI

Resisting change can be a company's biggest downfall, but Microsoft wasn't afraid to update its interface to fit with the times. Keeping navigation and its app-friendly structure in mind, the 360 has seen a number of dashboard redesigns, and each time, it attempts to keep its growing sections, such as movies, music, sports, and downloadable games, easily accessible. Its biggest achievement? Not bombarding the player with too much when loading up the console.

Up next: See where Microsoft missed the mark...

The Best And Worst Games Of The Xbox And Xbox 360 Launch Lineups

Dan Ryckert — Sat, 18 May 2013 17:01:00 GMT

We’re on the verge of learning our first official bits of information about Microsoft’s follow-up to the Xbox 360, and it has us thinking about the company’s previous console launches. Like most launches, Microsoft has seen its share of rushed stinkers and standout gems. Take a look below for some examples.

Best launch games: Xbox

Halo: Combat Evolved

Without a doubt, this entry was the easiest slam dunk on this list. Bungie's Halo: Combat Evolved isn't simply the best Microsoft launch game of all time, it's one of the best launch titles in the history of the industry. The early days of the Xbox weren't exactly smooth sailing for the publisher, but the runaway success of Halo kept Microsoft afloat long enough to get its footing in the console wars.

Project Gotham Racing

Bizarre Creations came through for Microsoft in the early days of the Xbox, delivering the well-received Project Gotham Racing. It featured detailed recreations of various real-world cities, an impressive licensed soundtrack, and supported the custom soundtrack feature of the new console. Bill Gates himself even referred to it as his favorite game.

Dead or Alive 3

While this fighting series never quite had the clout of others in the genre, its exclusivity was still a selling point of the original Xbox's lineup. Its gameplay was solid, but the visuals are what really impressed gamers that wanted to see the power of their new console.

Best launch games: Xbox 360

Call of Duty 2

Activision's long-running series has been synonymous with console multiplayer gaming for years now, and this Xbox 360 title is what helped launch the franchise into the stratosphere. It featured graphics that showed off what the console was capable of and online multiplayer that enticed gamers to purchase Xbox Live – two very important check boxes that Infinity Ward nailed down immediately.

Condemned: Criminal Origins

Call of Duty may have had the FPS market virtually to itself at the 360's launch, but Sega offered up a different kind of first-person experience. With brutal melee combat and various crime scenes for investigation, Condemned felt more like a hybrid of horror films and an episode of CSI than a military battleground.

Project Gotham Racing 3

For the second Microsoft console launch, Bizarre Creations' Project Gotham sat alongside the system on release day. Like its predecessor, it was well-received by critics and fans. As an added bonus, this sequel included the wildly popular Geometry Wars: Retro Involved.

Next, we call out some of the biggest flops of Microsoft's Xbox and Xbox 360 lineup.

Replay – 24: The Game

Dan Ryckert — Sat, 18 May 2013 13:00:00 GMT

Earlier this week, I saw Game Informer reviews editor Joe Juba jump up and do a little dance around the office. The reason? He had just read a headline stating that action drama 24 will be returning for a ninth season. Reiner and myself started talking to him about the insane adventures of Jack Bauer, and instantly realized that we were both really excited for its return as well. After that conversation, the focus of our next episode of Replay was apparent.

Our opinions on the game may differ, but that didn't stop us from getting into plenty of silly 24 talk. Check out the new episode below.

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Check out more episodes at our Replay hub.

Microsoft: First-Party, Next Generation

Jeff Marchiafava — Fri, 17 May 2013 20:30:00 GMT

In preparation of the next Xbox's big unveiling, we take a look at Microsoft's stable of first-party developers and what each studio is likely working on.

While Microsoft hasn't released a lot of internally developed games this generation, the company has been quietly opening new studios over the past few years, including Microsoft Studios Victoria, Kids and Lifestyle Entertainment, Connected Experiences, and Soho Productions. The focus of many of these developers remains unclear; they might be creating games for the next Xbox console, mobile and Windows 8 games, or Kinect-based software such as the interactive television programming that Microsoft's new Los Angeles-based studio is working on.

While we're expecting at least a few next-gen surprises from Microsoft's new wave of studios, the company's established first-party developers are a little more predictable. Below we've outlined the history of each studio, the games they're known for, and what they're likely working on now.

Company: 343 Industries
Known For: Halo 4
Last Game: Halo 4
343 Industries had the unenviable task of continuing Microsoft's flagship series after Bungie moved on to Destiny, but last year's release of Halo 4 proved the series is in good hands. Considering 343 Industries was created specifically to work on Halo, it's safe to assume the studio is working on a new game related to the IP. 343 has stated that Halo 4 is the first game in a new Halo trilogy. However, executive producer Kiki Wolfkill has also expressed interest in expanding the IP to other genres. Even if that's the case, we expect 343 will kick off Microsoft's next console with a traditional sequel.

Company: Lionhead Studios
Known For: Fable, Black & White, The Movies
Last Game: Fable: The Journey
Lionhead has gone through a number of changes this generation, with co-founder Peter Molyneux leaving to form 22 Cans and former Cryptic CEO John Needham stepping in as the new head of the studio. Back in 2011, Lionhead was rumored to be working on Fable IV, in addition to the Kinect-based spinoff, Fable: The Journey, which ultimately released to poor reviews. Despite its recent on-rails detour, Fable remains one of Microsoft's strongest franchises; launching its next console with a new installment of the series seems like a smart bet, though Lionhead may have a completely new IP up its sleeve as well.

Company: Turn 10 Studios
Known For: Forza Motorsport
Last Game: Forza Horizon
This generation, Turn 10's Forza series overtook Project Gotham Racing as Microsoft's principal racing franchise. Forza Horizon took the series in a slightly new direction, with an open-world format that was well-received, though not quite as beloved as Forza Motorsport 4. In any case, racing games tend to make good launch titles, aptly showing off the visual advancements new hardware provides. We expect Turn 10 is hard at work creating the next installment of the series.

Company: Rare Ltd.
Known For: Donkey Kong Country, Killer Instinct, GoldenEye 007, Banjo-Kazooie, Perfect Dark, Viva Piñata
Last Game: Kinect Sports: Season Two
Despite its accomplished history of creating blockbuster franchises for Nintendo, Rare has created few standout series for Microsoft after being purchased by the company in 2002. Kameo: Elements of Power, Perfect Dark Zero, and Viva Piñata were met with generally positive reviews, but in recent years the developer has been focused on Kinect titles. While we'd love to see a next-gen sequel to Banjo-Kazooie: Nuts & Bolts, we're guessing a new Kinect Sports installment the likelier scenario.

Coming Up Next: Microsoft's first-party developers that specialize in downloadable and Kinect titles, plus a new studio that's focused on triple-A game development...

Digitizing Seattle: Infamous Second Son's New Playground

Ben Hanson — Fri, 17 May 2013 19:00:00 GMT

Leaving behind the fictional cities of New Marais and Empire City, Infamous Second Son will task players with liberating the streets of Seattle as the new protagonist Delsin Rowe. While Sucker Punch wanted to make it clear that this was not a 1:1 recreation of the real-world city, the game's version of Seattle will include many of the town's famous landmarks and try to replicate the feel of America's Northwestern gem. One of the benefits of choosing Seattle is that it is the hometown of the developers themselves, which is relatively rare in the realm of open-world games.

Many of the images used in the video below are from Sucker Punch's own reference photos, so you can expect to climb and explore many of the locations shown when Infamous Second Son is released.

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To learn more about Infamous Second Son, click on the banner below to enter our content-filled hub.

Opinion: Why Cliché RPGs Won’t Cut It Anymore

Kimberley Wallace — Fri, 17 May 2013 18:30:00 GMT

The role-playing game genre's focus on stories has always drawn me. Having a reason to play beyond "let's get to the end" is a powerful lure. For over two decades, I've enjoyed watching characters grow to save the world. The ending credits always matter so much more with the added context of a story I'm invested in. Until recently, RPGs were ahead of the curve in these arenas, while many other games settled for superficial reasons to embark on quests - sometimes simply a single line of text like "Your princess is in another castle."

Today's gaming landscape is a different beast. RPGs now have worthy competition in the story department. Take Bioshock Infinite, with its strong political themes alongside ambiguous moments that leave gamers analyzing their true meanings. Adventures like The Walking Dead are emotionally gripping by necessity: Characters have to matter or the big moments don't hit as hard. To be honest, it's been some time since I've had an RPG strike me that way. If RPGs want to stay on top with the industry's ongoing move toward more complex narrative, writing needs to be the focus - and frankly, it needs to be stronger.

Lately, I'm seeing characters and storylines with wasted potential. How many times are we going to see the same archetypes interjected throughout narratives? The older sibling who needs to protect everyone, the arrogant heartthrob who constantly shows off, the soft-spoken girl who can't stand up for herself, or the (sigh) tomboy who's trying to find her feminine side? These characters continually find their way into RPGs, and their thin personalities fail to add any sort of depth or humanity to the tale. I want my characters to move beyond cliché, to not be boiled down to a single trait. Wild Arms 4's Raquel is refreshingly different not only because of her circumstances (she's sick), but because she is multi-dimensional. I still think about Raquel, because she was a walking contradiction - tough, yet weak, keeping to herself yet dying to let someone in.

Another gripe with many traditional RPGs is their predictability. I've seen my share of save-the-world plots as a seasoned fan, but that isn't the core of the problem. If the heroics are new and exciting each time, I'm game. Having the world's destiny in my hands is always exhilarating. One series that does this well is Persona. Yes, you're technically saving the world, but having it set in the real world with all of its everyday activities brings a new dynamic to the adventure.

Can the same backdrops and settings continue to be interesting? While no two people look at a concept the same way, writers need to challenge themselves to think of new twists they can put on these worlds. Look at the political warfare placed on top of Dragon Age: Origins' fantasy backdrop. Atlus' Radiant Historia took time travel and made it feel new with its concept of intertwined timelines. When you get to see a world not only evolve on its own, but also affect it from a parallel world, the plot is much more engaging.

If RPGs want to stand out in the upcoming generation, the stories and characters need to be stronger and more developed. While some do leave their mark, too many are run-of-the-mill. Sadly, many other genres are starting to outshine RPGs in an area where Final Fantasy once ruled the roost with varied casts, surprising plot twists (cough, cough Final Fantasy VII), and villains who got under our skin. Unfortunately, the progress I desire may never happen; after all, an audience still dotes on these familiar scenarios and character types, but resisting any change or advancements won't help in the long run. Look at Square Enix: it's a shadow of its former self. The genre used to be its bread and butter, but its RPGs are now stagnant and struggling, making the company look elsewhere for its identity and financial security.

To remain relevant, RPGs must once again surpass - or at least measure up to - the creativity the rest of the modern games industry is bringing to the table.

CosBlog # 83: Issac Clarke by Kevin Leab Thong

Meagan Marie — Thu, 16 May 2013 23:00:00 GMT

I’m a big fan of intricate armor builds, and Kevin’s costume blew me away when I spotted it at GamesCom this past year. Even more impressive is that it marked his very first time cosplaying. I’d say you’re off to a great start, Kevin.

Blood, battle damage, and probably a bit of brain material splattered across this Dead Space tribute makes it that much more authentic. Make sure to check out Kevin’s DeviantArt portfolio below for some fantastic WIP shots that give a play-by-play of construction!

Who: The Character
The character is the engineer Isaac Clarke from the Dead Space series.

Why: The Decision
My father and I really enjoyed the design of the suit, and he was actually the one who asked me if I wanted to make it. I agreed and was really excited about the idea, so we started working on it together.

What: The Process
We worked on the suit on weekends over the course of about six months. We worked very calmly. It cost 250 euro to finish. Our main tool was a box cutter, and the material we used ranged from heated PVC, foam, tissue, glue, and even garden tools. Anything we felt would fit the suit was used. The most difficult task was the helmet because we started with it and at the same time we tested materials. It was my first cosplay. We hadn't made a suit before this one.

Where and When: The Debut
I debuted at Japan Expo 2011 in France. The photoshoot was made one year later in May. The photos were taken at "La Defense" near Paris by Marc Innavong, a friend.

Links: The Cosplayer
DeviantART

The Gallery
Photography by Darkain Multimedia with CosplayPhotographers.com

Miss the past few CosBlogs? Check out the CosBlog Hub for a full archive of past costumes.

Live Stream – Metro: Last Light

Andrew Reiner — Tue, 14 May 2013 19:15:00 GMT

Join the Game Informer crew as we journey back into the depths of the Russian underground in Metro: Last Light, 4A's sequel to the cult-hit survival shooter, Metro 2033. We'll be starting our live stream from the beginning of game at 4PM CT, and plan to play until we lose our minds from the oppressive despair and unspeakable terror waiting around every corner – or until 6PM. Whichever some comes sooner.

We'll also be answering questions via Twitch TV's chat room, so click the banner below join the fun.