Showing posts with label weeks. Show all posts
Showing posts with label weeks. Show all posts

Monday, 19 November 2012

Sony Unveils Uncharted: Fight For Fortune For PS Vita

A strange piece of news was revealed just a couple of weeks ago. It appeared that a new Uncharted game called Fight For Fortune would be coming to PlayStation Vita. The thing is, it was listed as an E-for-Everyone equivalent card game from a random developer, not a core Uncharted game from the likes of Sony first party studios Naughty Dog and Bend.

Today, we have confirmation that the game exists, is in fact called Uncharted: Fight For Fortune, will indeed be exclusive to PlayStation Vita, and, perhaps most interestingly of all, will be out in only a few weeks. Stranger yet, it seems Sony Bend is involved with the game’s development, even if the original leak of the game from Brazil had the developer listed as One Loop Games.

According to Sony Bend’s Chris Reese, “Uncharted: Fight For Fortune is an action-adventure turn-based card game featuring the heroes and villains from the Uncharted universe… The core gameplay in Uncharted: Fight For Fortune involves creating a team of Faction cards featuring heroes, villains, and mercenaries from the Uncharted universe, then using that team to defeat your opponent while defending yourself from their attacks.”

Interestingly, Fight For Fortune ties in directly with Sony Bend’s launch PlayStation Vita game, Uncharted: Golden Abyss. “Along with the release of Uncharted: Fight For Fortune,” Reese explains, “we will also release a new patch for Uncharted: Golden Abyss that will power up the artifacts that you’ve collected for immediate use within Fight For Fortune. Using the artifacts found within Golden Abyss, you can go to battle with other players as well as AI opponents.” The game can also be played sans Golden Abyss, should you choose (though Golden Abyss is about to be free for PlayStation Plus users).

The game launches on December 4th in North America and will cost $4.99. Its release date in other territories is still unknown.

Keep it tuned to IGN for a full review in the coming weeks.

Colin Moriarty is an IGN PlayStation editor. You can follow him on Twitter and IGN and learn just how sad the life of a New York Islanders and New York Jets fan can be.


Source : ign[dot]com

Thursday, 8 November 2012

When Nintendo Arrived in Scribblenauts Unlimited

A few weeks back, one of Wii U's launch titles got a little boost, courtesy of Nintendo. Scribblenauts Unlimited, a game that allows players to summon any object imaginable, welcomed Mario, Link and their friends into the fold.

All we've had to go on was a simple promotional image featuring Scribblenauts hero Maxwell with some stylized renderings of Mario, Link and a few more characters from their worlds. Today we're able to show you some of them in action, including how they interact with a few familiar objects. As is often the case with Scribblenauts, we're not trying to do anything in particular - just write things into the world and see what happens. Also keep in mind that we're doing that writing and a lot of the object manipulation through the GamePad.

Let's see Hyrule and the Mushroom Kingdom crash the Scribblenauts party!

Stay tuned to IGN for the latest on the Wii launch!

Rich is an Executive Editor of IGN.com and the leader of IGN's Nintendo team. He also watches over all things WWE, Resident Evil, Assassin's Creed and much more. Follow him on Twitter, if you dare!


Source : ign[dot]com

Marvel Unveils All-Female Fearless Defenders

Teased in a new teaser a couple of weeks back, Marvel has unveiled its latest title, an all-female superhero series called Fearless Defenders, written by Cullen Bunn with art from Will Sliney. The series will star Valkyrie and Misty Knight as well as introduce some new female characters to the Marvel Universe. Following Fear Itself, Bunn was one of the writers that tackled the enjoyable follow-up series called Fear Itself: The Fearless which, perhaps not surprisingly, featured Valkyrie in a prominent role.

In an interview with Newsarama, Bunn said, "You've got Misty, who's a very street-level character. And you've got Valkyrie, who's a goddess. So you've got very different backgrounds, and I think they will see their potential teammates very differently, and I think you'll see that the two of them have some differences of opinion on who would be the right team for what they're going to be facing."

He added, "This will also be a book that gives us a great opportunity to showcase the women of the Marvel Universe. You'll be seeing a lot of characters in the book who may not necessarily be in the core team, but will have the opportunity to guest-star and rotate into the book."

Bunn also revealed that Dani Moonstar will be another member of this new Defenders team, though the entire team won't be present right out of the gate in issue #1.  The writer also coyly dodged a question about the possible inclusion of the Wasp, who was recently brought back in the pages of The Avengers, so take that for what it's worth.

For more on the Fearless Defenders, head on over to Newsarama.

Joey is IGN's Comics Editor and a comic book creator. Follow Joey on Twitter @JoeyEsposito, or find him on IGN at Joey-IGN. He thinks  knows the world needs more horror comic books.


Source : ign[dot]com

Monday, 5 November 2012

Pre-Book Your Hobbit Tickets

Ready your wallets, Middle-earthlings. Even though it's still five weeks out, advance tickets for The Hobbit: An Unexpected Journey are ready to go on sale -- online and in theaters across North America -- starting Wednesday, November 7, at 12pm ET.

Also be sure to check out this new TV spot in anticipation of the pre-sale:

Peter Jackson's The Hobbit: An Unexpected Journey opens in 2D and select 3D theaters and IMAX on December 14.

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love by following @Max_Nicholson on Twitter, or MaxNicholson on IGN.


Source : ign[dot]com

Monday, 29 October 2012

Channel Surfing Podcast, Episode 184

Hey guys, Eric here for an actual brand new episode of Channel Surfing - Not one recorded two and a half weeks ago!

Laura Prudom from the Huffington Post joins me again as guest co-host, as we play some major catch up with the not-at-all-new news that Clark Gregg is starring as Agent Phil Coulson in S.H.I.E.L.D. – though we have actual recent news too, with Ming-Na Wen joining him in the ABC pilot!

Then there’s the bizarre situation with Up All Night, as NBC retools the series into a multi-camera sitcom. Plus, Dan Harmon’s new animated series gets the greenlight at Adult Swim, while G4 pulls the plug on Attack of the Show and X-Play.

We then discuss Arrow getting a full season order and our spoilery discussion on the show’s first three episodes, from 26:15-32:10 – followed by a “Watch Nikita!” rant and news about Seth Green on How I Met Your Mother, the lead being cast in Shawn Ryan’s Beverly Hills Cop, a potential Twilight TV series (sigh…) and Frank Darabont getting a greenlight for his new TNT LA Noir series. Plus, what the hell happened to DC Nation?

Reader email brings us an Arrow-related question about secret identities, followed by a spoilery Fringe chat (for what’s aired so far) from 57:30-1:02:00 and a Legend of Korra Emmy query.

Listen to our latest podcast by clicking the lovely red type below - right click to download.

Channel Surfing Podcast, Episode 184

Hey, why not follow us on Twitter?

Eric Goldman: @EricIGN

Laura Prudom: @LauinLA

Subscribe to Channel Surfing on iTunes

Join the Channel Surfing Facebook Group

Have a question or comment for a future episode? Email us at ChannelSurfing@ign.com.


Source : ign[dot]com

Channel Surfing Podcast, Episode 184

Hey guys, Eric here for an actual brand new episode of Channel Surfing - Not one recorded two and a half weeks ago!

Laura Prudom from the Huffington Post joins me again as guest co-host, as we play some major catch up with the not-at-all-new news that Clark Gregg is starring as Agent Phil Coulson in S.H.I.E.L.D. – though we have actual recent news too, with Ming-Na Wen joining him in the ABC pilot!

Then there’s the bizarre situation with Up All Night, as NBC retools the series into a multi-camera sitcom. Plus, Dan Harmon’s new animated series gets the greenlight at Adult Swim, while G4 pulls the plug on Attack of the Show and X-Play.

We then discuss Arrow getting a full season order and our spoilery discussion on the show’s first three episodes, from 26:15-32:10 – followed by a “Watch Nikita!” rant and news about Seth Green on How I Met Your Mother, the lead being cast in Shawn Ryan’s Beverly Hills Cop, a potential Twilight TV series (sigh…) and Frank Darabont getting a greenlight for his new TNT LA Noir series. Plus, what the hell happened to DC Nation?

Reader email brings us an Arrow-related question about secret identities, followed by a spoilery Fringe chat (for what’s aired so far) from 57:30-1:02:00 and a Legend of Korra Emmy query.

Listen to our latest podcast by clicking the lovely red type below - right click to download.

Channel Surfing Podcast, Episode 184

Hey, why not follow us on Twitter?

Eric Goldman: @EricIGN

Laura Prudom: @LauinLA

Subscribe to Channel Surfing on iTunes

Join the Channel Surfing Facebook Group

Have a question or comment for a future episode? Email us at ChannelSurfing@ign.com.


Source : ign[dot]com

Channel Surfing Podcast, Episode 184

Hey guys, Eric here for an actual brand new episode of Channel Surfing - Not one recorded two and a half weeks ago!

Laura Prudom from the Huffington Post joins me again as guest co-host, as we play some major catch up with the not-at-all-new news that Clark Gregg is starring as Agent Phil Coulson in S.H.I.E.L.D. – though we have actual recent news too, with Ming-Na Wen joining him in the ABC pilot!

Then there’s the bizarre situation with Up All Night, as NBC retools the series into a multi-camera sitcom. Plus, Dan Harmon’s new animated series gets the greenlight at Adult Swim, while G4 pulls the plug on Attack of the Show and X-Play.

We then discuss Arrow getting a full season order and our spoilery discussion on the show’s first three episodes, from 26:15-32:10 – followed by a “Watch Nikita!” rant and news about Seth Green on How I Met Your Mother, the lead being cast in Shawn Ryan’s Beverly Hills Cop, a potential Twilight TV series (sigh…) and Frank Darabont getting a greenlight for his new TNT LA Noir series. Plus, what the hell happened to DC Nation?

Reader email brings us an Arrow-related question about secret identities, followed by a spoilery Fringe chat (for what’s aired so far) from 57:30-1:02:00 and a Legend of Korra Emmy query.

Listen to our latest podcast by clicking the lovely red type below - right click to download.

Channel Surfing Podcast, Episode 184

Hey, why not follow us on Twitter?

Eric Goldman: @EricIGN

Laura Prudom: @LauinLA

Subscribe to Channel Surfing on iTunes

Join the Channel Surfing Facebook Group

Have a question or comment for a future episode? Email us at ChannelSurfing@ign.com.


Source : ign[dot]com

Thursday, 18 October 2012

An Early Look at Professor Layton and the Miracle Mask

Professor Layton and the Miracle Mask arrives in North America in less than two weeks. The game is the second entry in the prequel trilogy that began with the incredible DS title Professor Layton and the Last Specter, and represents this delightfully puzzling franchise's 3DS debut. We just recently received our copy here at the IGN office, and over the next few days I’ll be diving head first into the mysterious town of Monte d'Or. Keep an eye out for my full review sometime next week... but you don't want to wait that long for a look at the good professor's latest, do you? Of course you don't.

Below you'll find a handful of clips from Miracle Mask. Watch them without fear of spoilers - they're all from very early on in the adventure. As a reminder, Professor Layton and the Miracle Mask will be available to purchase both in stores and on the 3DS eShop on October 28. Nintendo will also be offering a new puzzle every day for an entire year as DLC for fans who purchase the game - all completely free of charge. A gentleman always appreciates a good freebie.

Now - to the clips! Let's start with a look at the game's opening...

You can't show off a Layton game without including a puzzle or two! This is the very first one in the whole game, so expect them to get a lot harder as the story progresses.

And now for one fo the game's unlockable Episodes - this one revolves around Emmy doing a bit of solo investigating.

And finally, one more puzzle for the road... and Luke's debut as a bona fide lady's man?!

That wraps up your early look at Professor Layton and the Miracle Mask. Let us know what you think in the comments below, and keep an eye on IGN 3DS in the coming days for my full review.

Audrey Drake is an Associate Editor at IGN and a proud member of the IGN Nintendo team. She is also a lifelong gamer, a frequent banisher of evil and a wielder of various legendary blades. You can keep track of her wild adventures by following Aminka on IGN or @GameOnAminka on Twitter. Game on!


Source : ign[dot]com

Wednesday, 17 October 2012

Cast Your Vote for the Video Game President

After weeks of campaigning and attack ads, it's finally time to cast your vote for the Video Game Presidential Election!

You chose the platform winners and they chose their running mates, but this is the vote that counts the most! Do you think that Nintendo's Link should lead the pack with his "strong, silent" approach (along with his running mate Fox McCloud) or are you more of a fan of the "attack the problem from the rooftops" strategy employed by Ezio and his running mate Lara Croft? Now is the time to sound off once and for all!

So who will win? It's up to YOU to decide! And be sure to keep it locked to our Video Game Presidential Election site for all of your video game election coverage between now and Election Day when we announce the winners!


Source : ign[dot]com

Wednesday, 26 September 2012

South Park: Season 16 Continues

After its usual summer break, South Park is returning for the second half of Season 16 tonight - actually a couple of weeks earlier than usual.

The midseason premiere, "Sarcastaball," is a Randy-centric one, as Randy becomes concerned about safety during football games at South Park Elementary. while the new rules he brings to the game end up being adopted by the entire nation, one gifted student emerges as a star athlete in Sarcastaball.

South Park: "Sarcastaball" airs Wednesday, September 26th at 10pm on Comedy Central. Click on the image below for larger versions of images from the episode.


Source : ign[dot]com

Friday, 21 September 2012

Avengers vs. X-Men #12 Preview

The end is finally here. Marvel's latest huge event is coming to an end in a few weeks, as the Avengers and X-Men finally unite against Cyclops Dark Phoenix, fresh off dealing a death blow to a rather important figurehead.

Written by Jason Aaron with art from Adam Kubert, Avengers vs. X-Men #12 shows all signs of bringing the series out with a bang. Look for it on October 3.

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Joey is IGN's Comics Editor and a comic book creator himself. Follow Joey on Twitter, or find him on IGN. He loves superhero pets so hard.


Source : ign[dot]com

Friday, 14 September 2012

Norman Bates Cast for Psycho series Bates Motel

Following the news from a few weeks ago that actress Vera Farmiga (The Departed) had been cast as Norman Bates' controlling mother, Norma, for A&E's Bates Motel - a Psycho prequel series focusing on the formative years of future killer Norman Bates - comes cool news of the casting of Norman himself! - via TVGuide.com

After what TVGuide.com's William Keck called an "exhaustive" search, Freddie Highmore (Finding Neverland, Charlie and the Chocolate Factory) has landed the role of a younger version of Norman, a role made famous by Anthony Perkins in Alfred Hitchcock's 1960 classic, Psycho.

Ex-Lost EP/Showrunner Carlton Cuse is currently the EP/runner of Bates Motel, which will begin production of its 10 episode order in 2013.


Source : ign[dot]com

Monday, 10 September 2012

Pokémon News: Catch Genesect!

We're only a few weeks out from the stateside release of Pokémon Black 2 and White 2, the next set of games in the core Pokémon series. To celebrate the October 7 launch of these new games, Nintendo is finally giving players outside Japan the chance to catch the elusive legendary monster Genesect.

I choose you, Genesect!

Anyone who purchases either Pokémon Black 2 or Pokémon White 2 between October 7 and November 12 can receive Genesect simply by connecting to the Nintendo Wi-Fi Connection. It has a signature move called Techno Blast, and is a Bug- and Steel-type Pokémon with the ability to adjust its power levels based on the foe it's battling.

For all things Pokémon, keep it here on IGN - and don't forget to check out our latest Pokémon Profile - this week it's Bulbasaur!

Audrey Drake is an Associate Editor at IGN and a proud member of the IGN Nintendo team. She is also a lifelong gamer, a frequent banisher of evil and a wielder of various legendary blades. You can follow her wild adventures on her IGN blog and Twitter. Game on!


Source : ign[dot]com

Saturday, 8 September 2012

Behold the Christmas Story 2 Trailer

For those unaware, or those who tried to block it from their mind, just a few weeks ago Warner announced an "official sequel" to the beloved Jean Shepherd-penned classic, A Christmas Story. The response was, umm, less than enthusiastic...to say the absolute least.

But now we've got some visuals to attach to that horrid idea, in the form a trailer, which premiered today via Yahoo Movies. Take a look, if you dare:

The video currently sits with well over 3000 dislikes on YouTube (and growing by the minute). Wanna have some fun with your friends? Dare them to sit through all two minutes of this trailer. But you'll owe them big if they can.

A Christmas Story 2 hits Blu-ray, DVD and Digital Download October 30, 2012, just in time to scare the crap out of you and your loved ones for Halloween.

"Only one thing in the world could've dragged me away from the soft glow of electric sex gleaming in the window." Become a friend of R.L. Shaffer on Twitter, Facebook or MyIGN for quotes, rants, reviews, news and more!


Source : ign[dot]com

Wednesday, 5 September 2012

Win A 46" 3DTV And PlayStation 3 With Medal Of Honor: Warfighter

Ahead of Medal Of Honor: Warfighter's October 26th release, we're launching a new competition to give you the chance to win some incredible hardware. For the last few weeks IGN readers were given the opportunity to choose your ultimate gaming prize and the voting has now closed.

We're happy to announce that we're giving away a 46-inch 3DTV and a PlayStation 3 so that you can play EA's upcoming shooter as it was intended to be played - on a massive screen with the volume turned up to the max!

HOW TO ENTER

If you want to get involved all you need to do is head to...

http://uk-microsites.ign.com/medalofhonor/ 

...and click on the competition link at the very top of the page then click on the button marked Enter.

You've got until 10am on September 18 2012 to submit your details, so what are you waiting for soldier?

This competition is open to UK residents over the age of 18 only, with full terms and conditions on the competition page.


Source : ign[dot]com

Tuesday, 4 September 2012

The Challenges of Being an Independent Developer

A couple of weeks ago, IGN published a look at the renaissance in game development that’s happening in Australia right now. It’s very much being driven by a burgeoning independent scene, and the general mood in development communities in Australia is one of positivity. Even so, there are significant challenges in being an indie, not just in Australia, but anywhere in the world. Based on our discussions with developers and industry figures, this feature explores some of those challenges – focused mainly on iOS/Android development - and looks at the questions that independent developers are asking themselves in their quest to be successful.

“Creating a game has never been easier,” says Shane Brouwer of Initials Games, the creator of Super Lemonade Factory. “I can't imagine the pain that went into setting bytes in assembly language or manually juggling memory on older systems like an Atari 2600 or ColecoVision. Now, you've still got technical hurdles, but for every problem, there is a tool or a forum post that's going to get you through it.

“Distributing a game is, again easier than it's ever been. If you choose digital distribution, everything is set up for you to just drop your game into. There is no longer a huge risk duplicating thousands of physical copies. I'm not the only one to figure this all out, judging by the current state of the App Store. It's a crowded market, and to really stand out you've got to do something special, embrace social media, and be in the right place at the right time.”

Getting your game noticed

As Brouwer notes, one of the biggest challenges is discovery. Let’s say you have an indie studio, which has made a quality game for iOS. You’re able to self-publish it, but how the hell do you get it in front of people? The App Store is an incredibly competitive place and games can easily be swallowed whole.

“Discovery is easily the number one problem we have,” confirms Tom Killen of The Voxel Agents, the team behind the Train Conductor games. “Distribution is of course entirely easy now with the App Store because you’re immediately out there, but solving that discovery issue is huge.”

Want to get swallowed by the App Store? Make a ho hum zombie game.

The landscape for promoting mobile games is completely different to that of more established platforms. “We’ve discovered that traditional marketing, like PR and advertising and so on, really doesn’t drive games in the mobile space, in particular,” says Chris Wright, founder of Surprise Attack, an Australian marketing agency focused largely on the indie scene. “It fundamentally comes down to the product first and foremost. That’s where a lot of the work has to be, and keeping in touch with what the business models are. They’re now heavily free-to-play in terms of where all the money is, so we’re spending a lot of time trying to help indie developers use the business model without betraying their indie values.

“The straight-up 99 cents model is really hard to make money from for independent developers,” he continues. “It’s just so flooded with content, and good content, that even if your game is good, even if you get good coverage, you’re making so little per unit that it’s really hard to make a business out of that.” On the subject of free-to-play, Wright says, “People only pay in free-to-play games if the game is fun and they’re interested and getting a lot of value out of it. So it actually puts more focus back on the design.” Instead of success boiling down to whether the game gets noticed or not, it comes down to how good it is.

“Free-to-play gets your games out to the widest possible audience,” comments Morgan Jaffit of Defiant, the studio behind iOS hit Ski Safari, “but it's definitely something we're still learning our way around.  The real appeal with F2P is that a game can provide an ongoing revenue stream over a longer period of time, so you get the chance to keep working on it and putting out content regularly, which is nice.”

Not only is there no barrier to entry within the free-to-play model, but it opens up other opportunities that don’t work as well within titles that have an initial price point. “There’s a lot of cross-marketing that works,” Wright explains, “so you put an ad in your game for someone else’s game and then they do the same. There’s a whole bunch of networks that do that. It costs you nothing and you start getting traffic from other games, and then it sort of cycles through. There’s a lot of techniques like that that you can do that aren’t necessarily intrusive to the player, but generates more people coming into the game.”

This also applies to studios with an established audience. The Voxel Agents, for instance, has been working in the mobile space for longer than most, with a number of very successful titles under its belt. “Having got on early, we’re at a bit of an advantage,” notes Tom Killen. “We’ve already got an established player base of a few million people, who – although we can’t email or direct market or anything like that – we can still put things in our games to cross-promote, or communicate with other developers and use that to cross-promote our products. So I think talking to established player bases is really important, and if you look at – I hate to admire Zynga – but the way Zynga cross-promote their games is quite effective, because they get a user base and really use that existing user base as one of their primary marketing avenues.”

The Voxel Agents uses cross-promotion to make the most of its player base.

Tactical choices and killer gameplay

Outside of cross-promotion, many titles live or die based on how visible they are within their marketplace, whether that’s the App Store, Steam, XBL or the Android Marketplace. “Talking to the media and putting up blog posts and that sort of thing does have some impact in getting our name out there, but really what it comes down to is whether or not you’re featured on the Apple Store,” Tom Killen confirms, in reference to iOS releases. “And that’s a little bit of a black box, you can’t really control that, but if you look at what Apple are looking to deliver to their consumers, then you can kind of help that process along. We’re always conscious of aligning what we’re doing with where we believe the iOS brand is headed, or what kind of features they’re bringing in.

“One of the major things people can do is to support features that are new on iOS,” Killen continues. “iCloud just came out fairly recently, for example, and so a whole bunch of games added iCloud support, and because of that Apple were likely to pick them up. It’s about embracing those features that Apple want to push. But then, what Apple want to do is give people a really nice experience, so making a really awesome, polished game that will get noticed by Apple, that’s always going to be the crux of it.”

“Something like a Ski Safari,” says Surprise Attack's Chris Wright, “got a lot of support from Apple, and that kickstarted it into the charts, and now it’s stayed there. And that’s because that game is incredibly addictive and really polished… not because they did a hell of a lot of advertising or PR activity around it.”

Morgan Jaffit, whose studio created the game, agrees. “Ski was super, super polished which helped a great deal.  Brendan [Watts, Defiant game designer] really understands gameplay, and is probably the best gameplay programmer I've ever met.  The game was finished for months with him just focusing on polishing it up and improving the user experience until it was great.  I think people understand that when they play, even if they can't articulate why they're enjoying it.  It's also got a lot of character and is a really forgiving experience.  All told, the package is something that has really worked for people.”

Higher and higher quality bars

In 2012, however, even a super-polished and playable title isn’t always enough to be noticed by the digital marketplace gatekeepers. The quality bar is incredibly high now. “In the early days of the App Store you could make a game in two months and put it up,” says Chris Wright. “Now the production values are getting so much higher, that people are spending more like four, five, six months to a year making a game, so the strategy of – get a game out, see if it works, if it doesn’t, make another one – is becoming increasingly hard for people to do. I mean, if you have a look at some of the games that are coming through now, these are [AUD] $200,000 or [AUD] $300,000 games that are being made, whereas in the early days you’re talking about [AUD] $10,000 or [AUD] $15,000 games being made. So it’s tough.

“It’s really hard to be certain about the market you’re operating in,” Wright continues, “because it is so crowded and there are so few things you can do to really push your game up, so it becomes about the product and taking that shot. A lot of the work we’re trying to do is for the studios that are trying to build a sustainable business, is trying to help them work out – okay, how do I make a game that’s going to work in that market? If it’s not free-to-play it at least has to have some good in-app purchase, so when we get somebody into the game there’s a chance that they might give us a bit more money.”

The latter approach has certainly worked for Uppercut Games' Epoch, even if it was a late addition. “We actually shipped without in-app purchase,” says Uppercut’s Andrew James. “We put it in about three months after we released, and found that that generates a significant amount of our revenue, even though it’s still a paid title. There are people who want to get the stuff without playing it for as long as you might need to, or just want to buy their way straight to the top tier of items. Even on a paid title it’s a significant revenue boost.”

Uppercut is still largely focused on Epoch, ten months on from launch.

Organic business models

Epona Schweer, the head of the Sydney chapter of the International Game Developers Association (IGDA), believes the key to indie success is founded in identifying gaps in the market paired with strong community activity. “If I know the niche market that I’m making a game for,” Schweer tells us, “I’m going to find them online, join those forums, join those groups, go to those meet-up groups, connect with my customers directly, and just start creating content for them directly, because they’re the people who are going to value it. That’s the blogging model and that’s the Etsy model, and that’s the online, start-up creative business model for everyone outside the games industry, and that works really well.”

This approach, Schweer believes, helps indies avoid competing within a completely saturated market. “Think of it in terms of evolution,” she says. “You’ve got a finite resource, and our finite resource right now is players’ time. You’ve got these huge, incredibly well-evolved predators who currently have most communities covered… If you were a new entrant into this particular ecosystem, the only way to go after what they’re going after is to do it better than them, and they’ve got more time, more money and more people than you.”

Instead of competing, Schweer says, find the players who are being ignored by the big predators servicing the existing genres/communities. “There’s still a lot of player time out there that’s not being satisfied,” she says. “Start with the players who don’t have the games they want to play. Start satisfying them… don’t start doing what other folks with more money and time are already doing really well. Start by taking care of players. Because you can take care of a player out there who’s being ignored by other developers, just because of the weird bundle of skills, interests and things that you’ve picked up over your life.

“An example of this is Tin Man Games,” Schweer continues. “They’re doing Gamebook Adventures. They started with sort of a classic iOS game and it flopped a bit, like most indie studios. And then they sat down and said, well, what kind of games do we actually want to have exist that don’t exist yet? Choose Your Own Adventure! They loved that… and they’re like – we reckon there’s people out there who also want that old school Choose Your Own Adventure thing, and they’re now grown up and they’re making some cash, and they’re sitting on trains, and they have iPads, but they don’t have games to play. And sure enough, they found them. They found these guys on forums, and they found these guys online and at PAX, and they started making books… for them. And they’re growing! The success was really small at first, but now they’re getting more writers and more folks and becoming a publishing house for Choose Your Own Adventure games! They found that group of players that were being totally underserved.”

“The commonalities amongst all the successful indie stories,” Schweer tells us, “is they all had a business model that didn’t exist yet. Notch didn’t go out and say – alpha funding’s really popular, I’m going to do that. The business model sort of grew… if you’re hooked in with your fans from really early days like that, they’re going to help you… the business models will grow out of that seed that is the new experiences that you’re going to create, which I think is really interesting.”

Notch didn't go out and say 'I need to give people a way to build enormous shrines to Pokemon.' Or did he? (Image from bluecarseat on Deviant Art.)

Government funding and the question of Kickstarter

Of course, for indies hoping to make games full time, there’s also the question of seed funding. Even for the smallest teams, there are expenses that need to be managed. How do indie studios bankroll their business? What should the role of governments be in supporting and fostering this scene? Can the likes of Kickstarter provide a source of funding for unknown studios? Do we need more indie incubator programs?

In the case of the Australian scene, there are a number of avenues for indies to get financial support, either small, one-off contributions to help defray the expense of attending conferences like GDC or PAX, or a stipend to pay for bare essentials as a team gets up and running. This is by no means something that can be relied upon, however, and in fact, Film Victoria, which had hitherto been instrumental in supporting independent development, has recently had its funding cut.

So what other options are there? One of the biggest success stories of 2012 has been Kickstarter funding, and a number of high profile projects have raised a great deal of capital. One has to wonder, however, just how hard it is for teams that aren’t pitching a revolutionary idea or involved with well-known games or developers to make an impact via Kickstarter. Is it viable for everyone? In many ways, it comes back to the issue of discovery.

“Kickstarter, just like the App Store, Steam etc – is going to be predisposed to benefiting those that are already established, like Double Fine etc,” Surprise Attack’s Chris Wright tells us. “This is just because they already have a reputation and resources. So their existing fan base can be mobilised and media are happy to write about the projects.

“However, these more open platforms also have the ability to lift people out of obscurity and into the spotlight if they have amazing ideas. The Pebble Watch is a good example. I think Kickstarter is an amazing platform for indie devs,” he continues. “They can raise significant amounts of funding – certainly the same size or greater than the government grants available to them - and also build an engaged fan base along the way to launch.

“But just like the App Store, it's not as simple as you put a project up and it gets funded. Access to the funding market doesn't mean you get funding, just like access to a distribution channel doesn't mean people will buy your game.”

It definitely helps if you're this dude. (The guy on the right.)

There are other factors to consider when going with Kickstarter too. “When you create a campaign on Kickstarter you need to have solved many elements of your concept already,” says Simon Joslin of The Voxel Agents. “It's almost like selling the game as if it already exists, which is akin to the publisher model where you have already determined the unique selling points of your gameplay, theme and marketing. I imagine that… you have less room to move with your ideas as your funding community is expecting what you initially sold them. If you want to change it drastically you may accidentally remove what your community was initially sold on.

“The way we're built at the moment doesn't work with Kickstarter or publishers because our ethos is built around discovering ideas in the process of game development itself,” he continues. “We discover what we're making as we make it. It's a highly adaptive process, with many iterations around a single idea. Another factor for us is that certain types of games are best kept secret until launch day. I don't think the early concepts of Train Conductor, Fruit Ninja or Draw Something should have been made public until they were finished games. We're working on two games at the moment I wouldn't share openly. They are brilliant in their simplicity, and therefore easy to replicate.

“While it might not be for us, many studios are currently making excellent use of Kickstarter funding and if you're configured in the right way, it could be absolutely perfect for you. Highly visual games, narrative driven games, or anything crowd sourced are well suited for Kickstarter. Of course being famous would also make you a good fit for it too.”

Timing is key too. “When we've been working on Kickstarter projects for studios we've really struggled to get much coverage,” says Chris Wright. “We actually advise clients to announce their games first and start building some momentum before they try to raise money via Kickstarter.”

Nothing, then, is simple when it comes to the indie scene. But the fact that there are more questions than answers, that this a bold new frontier, and that - while not everyone will make it - those that do have the potential to find not only success, but to change the fabric of the industry as a whole, well, that's pretty damn exciting, right?

Cam Shea is the senior editor at IGN Australia. You can follow him here on IGN. Like the AU team's style? Why not join our Facebook community and follow us on Twitter? 


Source : ign[dot]com

Thursday, 30 August 2012

Guild Wars 2: Review in Progress

No more stress tests or beta weekends, Guild Wars 2 is officially live. Throughout the coming weeks as I check out the launch version for review, I’ll post text and video updates during the work week, showing off how my Norn Guardian is progressing as I level through the 1 – 80 content, take part in World versus World battles and jump into PvP arenas. If you're completely new to the game and have no idea what Guild Wars 2 is or what's going on, check out this starter guide to get a sense of the basics.

Experience for Everything

Whether I was picking blueberries out of bushes or hacking at the frigid body of a maelstrom-summoning, zone-threatening snow demon, I was earning experience toward leveling my Norn Guardian. The experience rewards for doing nearly everything in the game made it feel like there was little time wasted while playing Guild Wars 2, lending significance to even minor activities, and contributing to a sense that no matter what I did, I was always getting stronger and working toward unlocking more gameplay options for my class.

The amount of experience handed out shows how ArenaNet wants people to play. Killing standard monsters results in very small experience gains. It makes no sense to sit there and try to round up and slay packs of mobs. Instead, the big chunks of experience come through events and story quests, emphasizing participation in structured content instead of rewarding those willing to put up with tedious grinding.

Quests come in various types, and from what I’ve played so far, at level 19, not all are equally entertaining. Scattered around zones are NPCs represented by hearts, all with unique lists of objectives. You don’t necessarily have to complete their tasks, though the financial rewards for doing so make questing for the heart NPCs seem worthwhile. And after their demands have been met, they’ll sell items, some of which can be powerful. Sometimes the tasks are fairly straightforward: just kill a bunch of stuff around the NPC. Sometimes they’re goofy enough to be entertaining, like bottling worms and fireflies or protecting baby animals, but at other times the tasks, particularly those that emphasize fetching and collecting, are too safe and conventional to be memorable.

Thankfully they’re over quickly, so it’s never long until there’s something new to play with. Events are the real highlight of the main leveling content so far. These quests start up periodically around each zone and can be undertaken by anyone in the area. There’s no quest log to manage and no need to join a group and make sure everyone’s on the right quest stage. If a convoy needs protection or a friendly faction is mounting an assault on an enemy encampment, you can jump in and start fighting at any point. Your contribution is taken into account and you’re given substantial rewards.

This makes it feel like Guild Wars 2’s world isn’t a static funhouse waiting for you to show up in order for all the lights to brighten and music to start playing. It makes it feel like the world has its own rhythms and that it exists independent of your presence, which in some ways helps defeat the inherent artificiality of the experience. Of course, that sense of artificiality is reestablished after an event re-triggers for the fifth time, but at least on the initial journey, it’s a powerful motivator, and a big reason to keep looking around the world, earning rewards while learning how the inhabitants of this incredibly detailed world interact.

The events represent the best storytelling in Guild Wars 2 from what I’ve seen so far, skillfully mixing gameplay with just enough dialogue to establish context and add a layer of personality. Sometimes the storylines can be serious, where characters strive to stop potentially catastrophic events, and sometimes they can be comedic, like when a scientist asks you to protect cattle from invaders so he can launch them through the air as part of an experiment. So far the variety of tasks has been really impressive, and in some cases even affects which faction controls settlements. The fact that ownership of territory in the virtual world can shift like this helps lend more significance to events, because their outcomes can have very noticeable effects on the game world. I’m looking forward to seeing how these systems develop in later zones.

The personal story quests so far haven’t been quite as exciting for me, as many of the characters feel like stale, brittle fantasy stereotypes. The stories are all very well presented, with plenty of fancy visuals and fully voiced dialogue, but so far nobody’s had anything terribly interesting to say. Perhaps that’s still because I’m early in the game, though, and later on things will become more exciting. Dull characters aside, the goals for each quest are well done, adding even more variety to the experience, tossing me into in one-on-one brawls in front of a cheering audience and phasing me into mystical planes of existence to recover trapped spirits.

So far, the shortcomings of the story quests and heart NPC tasks haven’t sucked out the fun of exploring Guild Wars 2. It’s a stunning world, beautifully crafted, and the diversity of gameplay styles possible even within a single class’ skill set is really impressive. The pace is fast, travel around the world is conveniently linked by instant-travel waypoints, so there’s rarely any downtime. It feels like Guild Wars 2 really lets me get to the fun parts without much of the tedious fuss normally found in MMOs.

Still, these are only really my first steps into the game. Group dungeons aren’t accessible until later in the leveling progression, I’ve barely looked at World versus World combat or the PvP arenas, and I’m still learning how the crafting system works and unlocking new skills for my Guardian. I’ll post many more updates in the coming weeks covering all these aspects before a final review is ready. But so far, Guild Wars 2 is a lot of fun.

Mix and Match

There’s no dedicated healing class in Guild Wars 2. There’s no class you can point to and label as the permanent tank or permanent damage dealer. Every class does a little bit of everything. Combat seems to be more about movement and buff / debuff management than spike healing and aggro capture.

Without the clarity of strictly defined class roles, ArenaNet tried to prevent the skill system from getting too complicated by giving each weapon a set of fixed skills. When I equip my Guardian with a one-handed mace, I get three unique attacks, and can fill in the other two weapon slots on my skill bar with an off-hand. That means I can use a mace with a torch, a mace with a focus, or a mace with a shield. The three mace skills will always be the same for the Guardian, but the other skills will change depending on the equipped off-hand, altering my role in a fight.

By fixing skills to weapons, ArenaNet essentially created subclasses for my Guardian. As you might expect, a shield is based more around defensive skills, and lets me protect allies and knock back enemies. A one-handed mace's skills provides a number of healing and defensive bonuses, making it a good choice for more survivability while fighting enemies at melee range. If I want to deal more damage, I can swap in a one-handed sword for the mace. If i want to deal even more damage, I can replace the shield with a torch so my Guardian can breathe fire and launch fireballs like a caster.

There’s a lot of versatility to the system, even with the pre-made skill loadouts of the weapons. By equipping a two-handed sword the Guardian becomes a much more mobile damage-dealer, capable of leaping at targets and dealing heavy damage across a large area by spinning his blade. A two-handed mace gives the Guardian powerful crowd control, letting him encircle himself with magic barriers that enemies can’t cross and blast foes with lines of immobilizing energy.

Weapon skills only take up half the skill bar, though. The other five slots can be occupied with a healing skill, three utility skills and one elite skill. Every class must equip a heal, so there’s no way to equip only damage-dealing skills.  Once you’ve unlocked an assortment of utility skills, you can slot them individually – they don’t come in pre-set packs like the weapon skills – so there’s more freedom to customize, and it prompts interesting questions. Should I equip all spirit weapon summons so my Guardian can run around with a floating mace, sword and bow following along? Should I equip area of effect fire blasts or energy walls that block incoming projectiles? There’s a huge amount depth to the system, and so far experimenting with all the different possible combinations has been a lot of fun.

It takes a while to unlock all the skill slots and even longer to accumulate enough skill points to purchase all the utility, elite and healing skills. As a result, I haven’t so far felt overwhelmed as new things are introduced. I’m currently still looking over the Trait system, which provides passive bonuses to support specific play styles. For instance, I can use Trait points, gained while leveling, to increase the length of time my spirit weapons stay active, as well as reduce their cooldown rates. Like the weapon and slots skills, I can also swap around major trait bonuses that I’ve unlocked too, so if I later decide spirit weapons aren’t useful any more, I can add in different bonuses that augment different skills. It’s an extremely flexible system, letting me experiment and adjust instead of locking me into a specific role.

So even though I’m a heavy armor-wearing, giant weapon-using combatant, I can actually adjust my skills so I’m more of a caster type, crowd control type, or healer type, or even a summoner. I love that there’s this much freedom of choice within the class, and assume it has a lot to do with trying to stay alive in the dungeon encounters I still haven’t arrived at yet.

The diversity between classes is also impressive. Even though every class can do so many things, each seems to retain a sense of identity from what I’ve seen so far. The Mesmer’s ability to copy himself and command his images sets him far apart from the quick-hitting Thief, while classes like the Necromancer and Ranger rely more on pets to stay alive while questing along and to help out in group fights.

One complaint I do have so far is that, despite the obvious depth in each class, it’s tough to know exactly what kind of an effect I’m having on a battle. If it’s a big event quest and thirty players are bunched up on a boss, there are so many arrows and fireballs and mystical bits of energy flying around that I have a hard time keeping track of exactly what’s going on. This sensation is fading somewhat as I continue to play and learn how all the skills interrelate, but it’s still there.

Despite that, even in my early twenties, I feel like I’m still opening the lid of an enormous toy box as I unlock more Guardian skills. I’ll have to wait and see, once the feeling fades, if all the toys I pull out are equally fun to use.

A Sense of Adventure

This game is absolutely gorgeous. The armor sets, the environments, the inventory and crafting menus, everything is beautifully tied together with a painterly style and wildly creative fantasy designs. The mini-map too. Maybe that’s a weird thing to call out, but it’s a functional piece of art always visible on the bottom of the screen that shows all the necessary information without ever being intrusive, and can be easily zoomed in and resized. In combination with the overworld map and on-screen notifications of events, it makes it easy to access Guild Wars 2’s content without wasting time.

Performance so far has been excellent at maxed out settings. Though I’ve been using pretty powerful machines (actually two, both with single GTX 580s), they’re by no means top of the line, and even in during events and the few big World versus World fights I’ve gotten into, the framerate hasn’t suffered significantly. Cranking up the settings really makes a difference, too, because the spectacle of Guild Wars 2’s visuals really adds to the powerful sense of adventure and discovery the game conjures.

The zone maps are huge, and it routinely feels like just over the next ridge is yet another pocket of marvelously crafted architecture to take in. From the lazy spin of a brightly colored windmill overlooking the rolling hills of Gendarran Fields to the dense clusters of rusted, spiky construction equipment in the Bloodcliff Quarry area of Diessa Plateau, ArenaNet’s artists really went overboard in the best possible way.

Even the elements common to many fantasy games, such as a seaside town, ArenaNet delivered with a signature style. The main cities are stunning, and Lion’s Arch in particular is achingly pretty. It’s the kind of thing that redeems some of the dull qualities of the Norn storyline, because the inspired architecture says so much more about the world and its inhabitants than a few stale lines of voice acting ever could. I know I can always return to this place and see players clustered around crafting stations, running between portals and hopping up its dizzying network of crisscrossing wooden walkways to reach vista points. It gives me a comforting sense that even when I’m surrounded by hostiles and near death, I can still return to a safe, beautiful place to relax, unwind, and craft a hamburger and cup of potato fries.

Though it may seem somewhat arbitrary, it’s so important for an MMO to make players excited about gathering together doing things like dancing on the dome of Lion’s Arch’s exquisitely designed fountain. Without it an interest in behavior the that has no impact on gameplay, social ties suffer, the feeling of community disintegrates, and ultimately the cities could feel more like museums than populated spaces. So far it feels like people aren’t spending time in the city only because it’s a convenient crafting hub and nexus of travel, but because they want to. Hopefully that stays consistent in the coming weeks, and isn’t purely driven by a fleeting sense of wonder.

For now it’s yet another reason why playing Guild Wars 2 is exciting, because so much of the world is feels unique. The thought of logging in again and continuing to explore remains powerfully motivating because the discoveries feel so significant, so worthwhile, and ideally that feeling will remain as I venture into higher level zones. So far, Guild Wars 2 is one of the most exhaustingly detailed fantasy worlds I’ve yet seen, not only because of the sheer volume of content, but because so much thought was put into every single piece.

Into the Dungeons

What a difference a dungeon makes. I was complaining a bit before that it’s tough to get a sense of how you’re affecting a fight while taking part in large-scale events. That sense was shredded to tiny, near-invisible bits as I stepped into the Ascalonian Catacombs. This dungeon doesn’t unlock until level 30, so any who enter already have a pretty good feel for their class anyway, but throughout the few hours I spent slashing and dying and casting and dying and then dying again, I felt I learned more about the Guardian’s skills and how they’re best used together than I had the entirety of the prior leveling experience.

Initially it was total chaos. First off, our group had connection issues as we tried to hop between overflow servers and home servers in order to all arrive in the Catacombs. Once that hassle was all sorted out, we set out to take down the first few enemies. I expected them to be pushovers. They wiped our entire group in seconds. They were not trash mobs in the traditional sense, they were lethal, aggressive, and difficult to predict.

I’m still getting a sense of how the aggro mechanics work, but mobs would often switch their focus instead of stick to certain targets. The result was all in the group had to stay mobile, watch for incoming attacks, and always have a dodge ready to jump out of the way of a mace swing or magical area of effect blast. The enemies also hit hard, really hard. Even minor enemies were capable of two or three-shotting my level 30 Guardian. I quickly learned that standing still was guaranteed death, much like sloppy dodge resource management.

For a moment I panicked. I brought up my skill menu with a sense of hopelessness, because the servers were going down for maintenance in two hours and at the initial rate of progress, clearing the dungeon would probably take five. I experimented, and after a while the usefulness of certain skills I’d been ignoring while leveling became apparent. Crowd control became paramount. Being able to root an enemy even for a few seconds had a very noticeable effect on my ability to survive. Swapping weapon sets so I could adjust my role as a ranged caster to an up-close damage dealer had huge benefits. The comfortable rhythm of combat I’d fallen into while completing events and heart quests was completely disrupted, and seemed by comparison like I’d been playing with training wheels on the whole time.

What really impressed me was how so many of the encounters require different approaches. For one early fight against enemy melee fighters, I switched to a two-handed sword so I could quickly leap in, drop an area of effect buff, perform a spinning attack and then dodge back out before taking too much damage. While at a distance I healed up (using a skill that also healed group members), summoned a spectral bow to help nullify conditions, triggered group regeneration with another skill, then leapt back in to continue dealing damage. I watched the enemy’s weapon as it rose up into the air, and timed my next dodge so I was in the clear just before it was slammed down. I used the entirety of my skill bar regularly, and felt an immense sense of accomplishment after every kill, because the degree of challenge made it feel like I’d earned my victory.

Later I was forced to completely switch skills. Three ranged enemies fired projectiles at our group from a distance, and their powerful knockback ensured nobody could fight at close-range for very long. I was forced to switch away from my two-handed sword to a scepter, which gave me a ranged magical attack. I also had to change my utility skills so that instead of heals and buffs, I could activate temporary shields that blocked and even reflected projectiles, giving our group some cover to hide behind while focus-firing.

Those were just fights against basic enemies. The bosses, as expected, had more sophisticated mechanics. One teleported around the battlefield, so that I often had to switch weapon sets to effectively deal damage from range and up close. Another pair of bosses had to be kept away from one another, requiring our group split up to keep the bosses at opposite sides of the battle arena. One of these bosses spawned magical minions that dealt heavy damage, so I switched to a staff weapon that allowed me to run around while casting a damaging AoE blast, as well as trigger several types of heals to help out the rest of my group.

Because anyone can resurrect during combat, it’s not too difficult to keep a boss fight going without a health bar reset. And as far as I could tell, as long as someone stays in the fight, it’s also possible to respawn at a nearby waypoint and run back to battle and keep the battle going. I’m assuming with more practice it’ll be possible to avoid frequent death and the associated repair costs, but the multiple ways to bypass a full wipe serves as an example that, despite the seemingly steep learning curve, there’s still some forgiveness to the combat system.

The more I learn about the skill system and experiment with its applications, the better it seems. While the chaos of outdoor world events sometimes overshadow the intricacies of the skill system, the tightly controlled dungeon environments show just how well the system is designed, and how heavily dependent on twitch skill and proper preparation success can be.

Boots and Burgers

Tying into the theme of experience for everything, creating armor, weapons, food and other items in Guild Wars 2 can provide huge experience bonuses not only for the selected crafting discipline, but also for your character. It’s not uncommon to return to town after a few hours questing, fuse together your collected items and level up your class.

It makes crafting more exciting knowing I’m not disconnected from the leveling process while in town fashioning iron equipment and making pizza. I’m always advancing my character, which, like so many things about Guild Wars 2, deemphasizes the need to grind through one particular type of content to hit the cap. There’s a lot to do, and it all counts.

The crafting system itself is pretty dense, so much so that it might be off-putting to newcomers who have no idea what the discovery tab is for or how new recipes unlock. After figuring out the mechanics, though, it’s easy to appreciate what ArenaNet built.

Though Guild Wars 2 limits you to two active crafting disciplines at a time, it’s possible to switch between disciplines without losing the progress gained in whichever one was dropped. I chose Armorsmithing and Cooking to start out, but recently temporarily switched over to Huntsman to fashion my surplus of logs into planks and earn the associated experience. Afterward, I walked back over the appropriate NPC, dropped the Huntsman craft and re-learned Armorsmithing. I had to pay a fee, so there is some penalty, but all my previously learned Armorsmithing recipes were still there, so I lost no progress for switching.

I know there’s an argument against this kind of flexibility. Some players out there might prefer a system where all progress is lost if a discipline is dropped, because that adds meaning to the decision process. It shapes virtual identity in the same way as picking a character class. As it is, saying ‘I’m a cook’ in Guild Wars 2 doesn’t have the same significance, because anyone can be a cook after dedicating enough time, and what’s gained is never put at risk.

Still, I appreciate the flexibility here. For an MMO where, over time, I’ll likely spend hundreds of hours in a virtual world, I like the idea that I can still explore different crafting styles without having to sacrifice much of what I’d already accomplished.

The basics of the crafting system should be familiar to most MMO fans. Go out into the field to kill enemies for ingredient drops and harvest from resource nodes, then use the collected items to build new things. To prevent constant inventory space overload, you can also deposit all crafting-related items directly into a bank from anywhere in the game, removing the need to frequently return to town to clear space. Unwanted items can also be broken down into component parts, giving you a lot of ways to rapidly build up a base of crafting materials.

At crafting stations, which are located in all major cities and some settlements in questing zones, you can then browse a recipe list and build whatever you have the proper components for. New recipes unlock automatically as you level a crafting discipline, so there’s no need to constantly spend money to build more stuff. While you can level up your class and crafting discipline by creating what’s on the recipe lists, the biggest bonuses come through the discovery tab.

In this tab you’re able to combine ingredients and items in your inventory to unlock even more crafting options. It requires a lot of trial and error (or wiki browsing), but with the proper collected components you can get big spikes in experience gain. This kind of mechanic adds an element of surprise to the system, and the substantial rewards always make discovery feel worthwhile. It actually makes finding new ingredients in the field more interesting, because every component could potentially unlock something powerful.

In terms of how useful crafted items are, I’m wearing multiple pieces of crafted armor, and every food item activates a temporary buff that gives various statistical bonuses as well as a bonus to experience gained by killing enemies. So in other words, I’m using a lot of what I make. Cooking has proven to be especially enjoyable, mostly because of ArenaNet’s obsessive attention to detail. The icons for items like cheeseburgers blueberry cookies and slices of pizza are strangely appetizing, which at least for me, adds another layer of satisfaction to the production and discovery process.

The only real problem so far is the trading post is still down for maintenance, so there’s no central location to sell products and pick up needed items in bulk. Hopefully ArenaNet fixes this soon.

There has been a lot of coverage of Guild Wars 2 over the past few years at IGN, so in case you'd like more of an overview of what it's about, check out everything below. You can also check out my Twitter, where I'll be posting more updates as I play.

Guild Wars 2: The End Game

World versus world combat, dungeons and high level loot in ArenaNet’s MMO.

Skill Combat in Guild Wars 2

ArenaNet's Jonathan Sharp talks skill design in an MMO without a dedicated healing class.

Blending Social and Solo Story

ArenaNet’s take on how to tell stories in an MMO.

IGN's Guild Wars 2 Wiki

A comprehensive database of Guild Wars 2, including interactive maps for WvW and the 1 - 80 world. A great resource if you're new to the game.

All Previous Coverage

IGN's history of covering Guild Wars 2's development from start to launch.

Charles Onyett is an Executive Editor at IGN and can often be found hunched over a keyboard while writing and playing games. He's on Twitter and MyIGN.


Source : ign[dot]com

Tuesday, 28 August 2012

Kid Icarus: Uprising - The Final Showdown

This Saturday saw the grand final of the Kid Icarus: Uprising Battle Events take place in Central London. For the past eight weeks, the series of competitive Nintendo 3DS events have been touring the length and breadth of Great Britain, giving the general public the chance to take on pro-gamer Russki in a tournament to win a trip to IPL 5 in Las Vegas this November.

On Saturday, 24 finalists descended on the Century Club in Soho, (some coming in from Scotland) to duke it out in front of an audience of Nintendo fans. While only one person was going to be walking away with the main prize of the trip to Vegas, five runners up also managed to get their hands on a full deck of Kid Icarus: Uprising AR cards (400 of them!).

A victorious James Rushton

Fighting off fierce competition, James Rushton was the overall winner of the tournament, and he'll be jetting off to Vegas later this year courtesy of IGN and Nintendo. We'd like to thank everyone who took part across the country and those who came down to cheer on the competitors this weekend. Check out the snaps of the event below – a massive thank you to Ace Ashun for supplying!


Source : ign[dot]com

Monday, 27 August 2012

Kindle Touches Get Yanked, Refresh Inevitable

Mere weeks before a major Amazon announcement, both the Kindle Touch and Kindle Touch 3G are out of stock on Amazon's website. Does this mean a Kindle refresh is inevitable?

In a word? Yep.

The Kindles were refreshed almost exactly a year ago, and increasing pressure from e-reader competition like the backlit Nook and sub-$200 tablets like the Nexus 7 may have ostensibly forced Amazon to refresh their entire line of Kindles.

Current rumors suggest we could see up to five or six new SKUs from Amazon, but it's uncertain whether these alleged SKUs will be a variety of different Kindle Fires or include e-readers (Amazon currently sells six different Kindles).

While a backlit screen is almost guaranteed, what else would you want to see from Kindle e-readers? What would get you more excited about a Kindle Fire 2 than, say, a Nexus 7? Let us know in the comments.

Nic is the Tech Editor at IGN. He loves technology almost as much as Brand New, Boyz II Men, and A Day to Remember. You can follow him on Twitter and IGN.


Source : ign[dot]com