Those who are unable to attend Blizzcon 2015 in person still have the chance to experience it from afar.

Virtual tickets for Blizzcon are now available and grant buyers access to a number of features, including the ability to watch streams of developer panels and interviews, participate in contests, and earn in-game commemorative gear for several of Blizzard’s games. These tickets cost $40 USD and can be purchased through the Blizzcon website.

Additionally, those who purchase tickets can also purchase a Blizzcon Goody Bag containing special items from the convention for $35.

All of the eSports events during Blizzcon will be streamed in HD free of charge to anyone interested in watching through Blizzcon.com. These events include Global Finals for the 2015 StarCraft II World Championship Series, as well as world championship matches for World of Warcraft Arena, Hearthstone, and Heroes of the Storm.

Blizzcon 2015 will take place on November 6-7 at the Anaheim Convention Center.

In related Blizzard news, a new expansion for World of Warcraft was announced at Gamescom 2015. Called Legion, it will bring back familiar faces longtime Warcraft fans will likely recognize.

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EA Sports has revealed the songs that will be on the FIFA 16 soundtrack.

This year’s game features tracks from 42 artists, the full list of which can be found on EA Sports.

Here’s a selection from the track list:

Atlas Genius – Stockholm
Bastille – Hangin’
Beck – Dreams
Foals – Mountain At My Gates
John Newman – Tiring Game feat. Charlie Wilson
Louis The Child – It’s Strange feat K. Flay
Slaptop – Walls
The Royal Concept – Smile
Years & Years – Gold (FIFA Edit)
EA also announced a partnership with Slaptop, who will be curating audio for EA’s Goals of the Week series.

The FIFA 16 demo came out this week, giving fans a taste of what’s to come from the full release on September 24. Here’s IGN’s list of the biggest changes to this year’s FIFA.

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Unlike its predecessor, The Witcher 3: The Wild Hunt doesn’t exactly come screaming off the starting line. Compared to The Witcher 2, where you’re immediately plunged headlong into a sexy story of intrigue and betrayal, this main quest can seem mundane, even perfunctory at times. But each time I stepped off the well-beaten path to blaze my own trail, it turned into a wild, open, exhilarating fantasy roleplaying experience, rife with opportunities to make use of its excellent combat. Even after over 100 hours with The Witcher 3, it still tempts me to press on – there’s so much more I want to learn, and hunt.

The Witcher 3 is as dense and deep as the other two games in the series in terms of RPG mechanics, and the overwhelmingly massive open-world environment has at once made that depth more intimidating, and in the long run, more rewarding. It’s difficult to express just how huge and open this world is: verdant, rolling fields liberally dotted with swaying foliage of every shape and size fill the space between loosely connected, ramshackle townships where people struggle to scrape by. A full day/night cycle and dynamic weather pull it all together, cementing The Witcher 3’s landscape as one of the most authentic-feeling open worlds I’ve ever seen. A handy minimap points you where you want to go, which might seem like a crutch, but honestly, without it, I’d have been hopelessly lost. That a world this size still feels so purposeful, and full of things to do is quite an achievement.
The one caveat on all that though, is the technical performance on the PS4 version I played for review. 30 frames per second was sometimes too much to ask, transitions between The Witcher 3’s two main maps are just a bit too long, and minor glitches do pop up from time to time. None of it ever impacted gameplay in any meaningful way, thought it did compromise the beauty of the experience ever so slightly.
This new open-world map obviously has ramifications for the structure of the story, and though there are flashes of greatness, the main story is ultimately the least fulfilling part of The Witcher 3. You might call it another case of The Elder Scrolls Syndrome. Our tale begins as a multi-continent search for Geralt’s long-lost lover Yennifer, and Ciri, his surrogate daughter. My single biggest issue though, is that it never becomes much more: the overly long main story is essentially just Geralt running errands for people in exchange for information on Ciri’s whereabouts. It effectively maintains focus and momentum, but it feels more like a wild goose chase than an intriguing mystery to unravel, like the one we got in Assassins of Kings.
Thanks to lots of excellent dialogue and voice acting there is some emotional payoff along the way, but it’s mixed in with too much padding in the form of meaningless fetch quests and collectathons. Every time I felt like I was on the verge of an interesting revelation, I’d have to suddenly stop to escort a goat, or search for a lost, narcoleptic dwarf. Heck, even Geralt can barely hide his frustration with the constant parade of menial tasks at times.
It’s also worth noting that though you will get along fine without playing the first two games in the series, without the context provided by the Witcher novels, Ciri is more or less a complete stranger until the last quarter of the journey, which made it difficult to care about finding her as much as The Witcher 3 expected me to – especially given the slew of intriguing characters who are relegated to supportive background roles.

Thankfully, they all get chances to shine once you venture off the beaten path, and that’s where The Witcher 3 gets nearly everything incredibly right. Depending on your decisions in The Witcher 2 (which can be handily recreated via some dialogue early in the game), you’ll see lots of familiar faces returning to play a role in Geralt’s search, and once they have, they offer you a secondary line of quests that typically provide far more interesting scenarios to dabble in. Underground turf wars, assassination plots, love triangles, and unexpected alliances are all part of these optional romps. They’re all so meaty and full of rich story content that they feel like they should have been part of the main story.
The same can be said for a lot of the side quests you pick up in the field as well. Aside from the bevy of standard side-quests, monster lairs, and bandit camps generously littered about The Witcher 3’s gargantuan land mass, you also get a bunch of monster-hunting Witcher contracts to persue. Geralt’s quarry ranges from ethereal wraiths that need to be made tangible before you can harm them, to Foglets who conceal themselves in thick smog, waiting for a chance to strike. The payoff here is twofold: in keeping with the lore, these represent your most reliable stream of income, which is refreshingly significant due to an appropriately stingy in-game economy.
The other upside is that, more often than not, these hunts and other side activities provide interesting insights into a land being destroyed by war, and the many forces that play a role in shaping it. Best of all, you’re one of those forces. It may not shift the main story’s conclusion in monumental ways, but I often returned to places I’d visited earlier to find that a seemingly small decision played out in a very big way. There is no morality meter, no paragon or renegade rating. In the grayscale world of The Witcher 3, there is only cause and effect; the decisions you make, both big and small, can legitimately change the world around you – far more so than most games that make similar claims.
Character progression and equipment choices are equally impactful. Relative to The Witcher 2, I found that Witcher 3’s RPG systems have been streamlined in some ways, and made more complex in others. In both cases though, the result is the same: a better experience. Simplifications to how you restock and use potions and oils makes them feel more practical and immediately useful, as you no longer need to meditate to do any of it. Sure, the old way was more in keeping with Witcher lore, but in a wide open world, it makes less sense to expect players to predict and prepare for everything they might come across in advance. On the flip side, there’s a wider variety of powerful, interesting potions than ever, including those that greatly enhance mounted combat, and others that restore health as you cast spells (or Signs as Witchers call them).

Speaking of Signs, they’ve been improved across the board with alternate casting modes, and a wider variety of upgrades, making them impactful in every fight. It’s actually entirely viable to build a sign-focused Geralt. I played him a lot like a Jedi actually, able to influence people’s minds in conversation, a powerful long range “force” push, and the ability to reflect crossbow bolts back to the sender (a returning ability that’s been made far more usable). The new skill system provides a good deal of flexibility while still rewarding players who want min/max for the best builds, and weapon and armor crafting is as deep and nuanced as ever, if not more so.
All of this shines through in The Witcher 3’s responsive, brutal real-time combat. Where combat in this series has up until this point felt vague and even a bit clunky, here it’s so fluid and satisfying that I walk around hoping for bandits to jump me just so I can repel their attacks with magical barriers, parry their blows with uncanny precision, and relieve them of life and/or limb with the occasional gory flourish. The Witcher has always done a great job of making me feel that I’ve outsmarted my foes, but for the first time here, controlling Geralt feels tangibly badass with every successful fight.


Though the straightforward and fetch-quest-heavy main story overstays its welcome, the option of joyfully adventuring through a rich, expansive open world was always there for me when I’d start to burn out. Even if the plot isn’t terribly interesting, the many characters who play a part in it are, and along with the excellent combat and RPG gameplay, they elevate The Witcher 3 to a plane few other RPGs inhabit.Vincent Ingenito is IGN’s foremost fighting game nerd. Follow him on Twitter and argue with everything he says about them.

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Arkham Asylum, the first Batman game from Rocksteady Studios, had the sense of a fresh beginning for superhero action games. Batman: Arkham Knight has a sense of finality. It builds on the revolutionary strike-and-counter fighting style with powerful new moves and enemies; it expands on Arkham City’s open world with a larger, more detailed version of Gotham; it introduces a new fully playable Batmobile and makes it an important part of the action and puzzles; and it brings all of Batman’s closest family of Gotham superheroes and rogues together for an amazing, great-looking finale.

Roughly 12 hours’ worth of story missions do a great job of playing up the long history between Batman, the three Robins, and Jim and Barbara Gordon. The plot does stray a little too far into the supernatural for my tastes — in that I generally find the Dark Knight at his finest when the threats he faces are at least remotely grounded in reality — but in doing so it drives wedges between allies and delves into Batman’s psyche in an interesting way.
While the mystery of the identity of the Arkham Knight (a militarized anti-Batman who serves as co-antagonist along with the Scarecrow) fizzles out, there are other surprises to fall back on that kept me engaged in the twisting story. Plus, several strong performances gave it personality: the unsettling monotone voice of John Noble makes this the eeriest version of the Scarecrow yet, Mark Hamill returns for some excellent, darkly hilarious posthumous Joker lines and reenactments of some of the most famous scenes from the comics, and of course the definitive Kevin Conroy stars as Batman. Here and there a few cheesy, wooden lines pop up, mostly in the side quests, but the same is true of nearly any game of this size.
And its size is significant. We’re now free to explore three islands of the dark and intermittently stormy Gotham City, which is given character and color by its many bright neon lights and noticeable landmarks like the Chinatown district, Wayne Tower, and Ace Chemicals. All of which are beautifully detailed, and the lighting effects reflecting off wet streets and capes highlight impressive texture detail. The city has been evacuated again, which conveniently makes it impossible to accidentally or intentionally beat up innocents, but the streets are far livelier than in past games thanks to vastly increased populations of criminals, both on foot and engaging in high-speed pursuits with Gotham Police cars. (The animation you get from countering them when they try to run you down is hilarious.) Notably, we don’t return to the Batcave in Arkham Knight, which is fine by me considering how much time was spent there in the past two Arkham games.

With the new moderately large open world comes improved transportation. Not only can you cape-glide much faster thanks to an upgradable grapnel, but we’ve also got the rocket-powered, transforming Batmobile, which is to the streets of Gotham City as the Kool-Aid Man is to brick walls. Nearly everything in your path crumbles in a satisfying way as you chase down criminals, and we get some impressive slow-motion explosions out of the simple vehicular combat. (Remember: Batman doesn’t kill, so we can assume everyone walks away from these fiery wrecks. The same goes for the thugs you run over in the street, who are both hit by a car and electrocuted.) These were the only moments I noticed the framerate dip a little, and it wasn’t by much.
The Batmobile can also be remote-controlled, which makes it a great addition to Batman’s environmental puzzle-solving toolbox. Need to be in two places at once to trigger two switches, or to sneak up on enemies who’ve got you cornered? No problem. And it can be summoned almost anywhere outside, leading to a fantastic move where Batman dives in as it zooms to him.
The twist is that when you hold the left trigger, the Batmobile swiftly turns into a slower but highly maneuverable tank that you use to blow up battle drones. That’s… weird. On one hand, this is about as un-Batman an activity as I can imagine. He’s a hero known for using his fists, his non-lethal gadgets, and his wits to defeat criminals because his parents were murdered by a gun, and yet here he is, a knight in futuristic armor blasting away with guns galore. (They automatically switch to non-lethal ammo when targeting humans.) Rocksteady’s obviously aware of this, since more than one character comments on how it’s not exactly his style.

On the other hand, tank battles are good fun — the idea of having hostile drones project a visible line of fire where they’re about to launch a shell gives you awareness of enemies attacking from all sides and lets you avoid them, and it gets tough when heavy and flying drones are introduced and you’re given secondary weapons, such as EMPs and missile barrages, to counter them. True, tank battles are nowhere near as interesting or replayable as the improved brawling and predator-style fights, but adding this third mode of combat to Batman’s repertoire does great things for pacing and variety, ensuring we’re never doing the same thing for long.
Tank mode plays a big role in puzzles, too, thanks to a grapnel winch that pulls things down for you. Tank-based platforming puzzles are the one place where the Batmobile feels like a bad idea. They’re only slightly more fun than they sound like, because while it’s maneuverable and can strafe, driving up a narrow ramp is still frustratingly clumsy. Also, take note: both driving and tank combat became much more enjoyable when I switched the controls from the counter-intuitive default scheme to the more natural toggle mode, where you don’t have to hold the tank button down and the left trigger brakes (as every other driving game has taught us it should) instead of transforms. Find that in the options menu, and thank me later.

Meanwhile, Batman’s signature strike-and-counter brawling and stealthy predator fights feel better and smoother than ever, and of course they’ve been upgraded with dozens of powerful and interesting new mechanics and subtle tweaks that give us more to experiment with and master. Some of the new moves feel overpowered at first. In brawls you can pick up a dropped baseball bat or club, which gives you a few seconds’ worth of bashing through shielded or shock-baton-wielding enemies, and in predator fights the surprise multi-takedown move that knocks out up to five unsuspecting targets at once and the voice synthesizer gadget that can lure thugs into traps in predator fights both chew through thugs very quickly.
But the increased number of enemies in play and new types, like the huge gatling-gun brutes and a medic who can protect his allies with electric fields (which must be shorted out with the Bat Claw before you can hit them) and revive anybody you’ve already knocked out, balance it out well. Also, being hunted by thugs who use denial tactics like firebombing ground vents, controlling hovering drones, deploying landmines, and detecting you if you use Detective Vision for too long made me change up my habits and targeting priorities.
A few flashy fight scenarios in the campaign and side missions let you team up with an AI-controlled Robin, Nightwing, or Catwoman, and use them to execute some awesome dual-takedown moves that knock out any enemy instantly and temporarily swap you to control of your partner (while maintaining your combo count). It doesn’t add much mechanically, but fighting side-by-side with a sidekick is a very Batman thing to do. These climactic showpiece fights let Arkham Knight get away with almost entirely dropping the gimmicky boss fights that ended up as low points of previous Arkham games. In a way it’s a let down that there’s no direct physical confrontation with most arch criminals, but nothing is sometimes better than something annoying.

The campaign is complemented by a ton of mostly excellent side quests built around stopping villains like Two Face, Penguin, and of course The Riddler. Each mission series has its own gameplay style — Riddler, for instance, has a mix of his typical riddles and novel Batmobile race courses where you have to speed through while tapping a button to extend or retract pieces of track or obstructions moments before you plunge to your doom or crash and explode; Two-Face’s crew robs banks, putting a timed twist on predator fights; Man-Bat requires listening for his echolocation screams and then performing aerial takedowns. Some — namely the Arkham Knight’s mercenaries who generally require beatings — get a bit too repetitive if done one after the other, but mixing things up and doing missions as you find them is worth easily another dozen hours of variety-packed gameplay. And that’s before you even get to the addictive challenge fights — which include racing and tank battles — and a New Game +.

If this is in fact the last Rocksteady-developed Batman game, the series will end on a high note. Arkham Knight is the biggest Batman game yet, not just in map size, but in the wide range of different types of gameplay, and its collection of characters. The addition of tank combat thematically clashes with everything Batman stands for, but it is fun, and having access to the Batmobile for the first time gives us a new world of possibilities for interacting with Gotham City. Arkham Knight is an outstanding game on almost every level.

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Let’s just get this out of the way: Mortal Kombat X is the best Mortal Kombat, period. It’s deeper, mechanically richer, and more fully featured than any of the nine games before it, hands down. On top of that, developer NetherRealm Studios has taken a bunch of risks by adding eight entirely new characters to the MK roster, while introducing fun, distinct variations to returning ones. Each of these risks pays off to varying degrees, but they also serve to highlight some of the ways in which the franchise is stuck in the past. Mortal Kombat X is an excellent fighter, and the most fun I’ve ever had with a Mortal Kombat game.

The first thing MKX does to make itself feel new and exciting to both old series fans and casual fighters is a major roster shakeup. Before DLC ever enters the picture, MKX sports a respectable 24 fighters, and a whopping one third of those are honest-to-goodness new characters; not palette swaps or tweaked alternate versions of existing ones. Few fighting games with such a deep vault of fan-favorite characters have cleaned house so completely, and MKX is so much the better for it. Sure, I go way back with guys like Kabal and Smoke, but fresh faces like Takeda and Kung Jin bring so much novelty to the table gameplay-wise that it’s hard to be sad about their absence.
Takeda is the most eye-catching new design, and he exemplifies what MKX does right with its new characters. He fights like you’d imagine a 21st-century ninja might, with an interesting mix of traditional weaponry and high-tech gadgetry. He’s got remote-controlled laser swords he can plant and recall at will, explosive kunai throwing knives, and arm-mounted, retractable grappling hooks that can open up into imposing blade-covered whips. He wields it all with a confident martial arts swagger that makes it all seem somehow plausible.

In fact, everyone conveys their fighting style more effectively than in NetherRealms’ prior games thanks to the much-improved animations. Injustice was a step in the right direction of addressing the shortcomings of 2011’s Mortal Kombat , but MKX gets the rest of the way there: dash and hit animations no longer look like hapless flailing, for instance. Little details like this used to distract me from the fighting all the time, and I’m glad to see them finally ironed out.
This helps MKX feel like the smoothest-playing Mortal Kombat ever. Walk speeds are snappier, pokes feel more useful, and with the awesome new variation system, there’s more to explore, discover, and exploit than ever before. Liu Kang has a variation where he can switch on the fly between healing and damaging stances, new grappler Torr employs an assist character to double-team opponents, Kotal Khan can place totems to grant himself temporary buffs – this is the kind of stuff you see in Persona 4 or BlazBlue, and seeing NetherRealms open up so many fun new doors is really refreshing.
One mild distraction from the excellent combat though, is the visual inconsistency between characters. Some fighters, like Scorpion or newcomer D’vorah, look excellent, with tons of little details in their faces and costumes. Others, like Sonya and Jacqui, look far less detailed, with comparatively plain facial textures. It stands out because of the high peaks MKX hits during its best moments. With two of the better-looking fighters duking it out against one of the many beautiful backgrounds, it’s one of the best-looking console games around, so it sticks out when everything isn’t up to the same high quality level.
The inconsistency that sticks out the most for me though, is the content of MKX’s so-so story mode, and how completely at odds it is with the aesthetic Mortal Kombat has built over the years. Again, NetherRealms has created something substantial for folks who like having a single-player experience, but it’s far less successful than previous attempts. The spotty writing and voice acting are largely to blame, but the real issue is that it’s weaving a tale of family and young adults coming of age in a world about death and brutality. Without the storytelling wit to do something interesting and unpredictable, it’s simply a poor fit.

The chapters set in a civil war-torn Outworld fit the Mortal Kombat tone the best, but there is just no reconciling the feel-good tale of a single father who loves his daughter in story mode with the image of him gleefully tearing a hole in her chest and proudly standing over her dead body in every other mode. Yes, of course, Mortal Kombat is ostensibly “about” Fatalities, and they’re gorier and more satisfying here than ever, but MKX’s story mode also wants to be about characters with deep ties to one another: fathers and sons, estranged lovers, budding romance, and long-standing blood-feuds finally laid to rest. Adding all of that drama to a series that began as a thrown-together story of a bunch of loners fighting to their deaths for their own reasons in strange, dangerous-feeling places leaves MKX feeling a bit confused in that regard.
There’s a small bit of this inner conflict in the excellent combat engine as well, but fortunately it matters far less. The bi-directional block button is back, and after being free of it in Injustice it simply feels limiting. Scream sacrilege all you’d like, the block button is a poor mechanic. It completely removes the left/right mixup that cross-ups are supposed to create in 2D fighters, eliminating an entire axis of mind games and setups.

Still, there’s a ton of depth to mine here. Each character has a long list of attacks and combo chains that serve different purposes, from high/low mixups to safe block strings and juggle starters. X-Rays, the MK equivalent of super moves, have been retuned to be more worth the resources they cost to execute and throws can be canceled out of and linked into full combos, giving you another meaningful way to spend meter. This makes resource management decisions that much richer. Most importantly, the ability to choose between three version of every character means there will be more matchup-specific stuff to learn, since playing against Sonya’s martial arts-focused Special Forces variant won’t prepare you for the setups she can create with her Demolitions style.
That’s what really matters in the end. Sure, the three or four-hour story mode experience feels middling and largely out of place, but that’s not what a fighting game is. It’s endless nights in the lab, months and years of experimentation and discovery, and the joy of outsmarting your opponent. Mortal Kombat X is a great fighting game – sometimes in spite of its own heritage – but great all the same.
The netcode is mostly up to the task of keeping online fights reasonably smooth, but there was usually just enough input lag to throw off my combos or punish timings relative to what I’m used to playing locally. Still, that’s a huge improvement over Mortal Kombat 9, and while online isn’t a replacement for in-person competition, it’s close enough to keep me learning and playing for a long time.

One more thing that will keep me coming back is the returning Krypt, where you unlock MKX’s humorously massive cadre of costumes, finishers, and supplemental materials. More than ever before, this interactive unlockable menu feels like a game of its own. There’s a certain thrill to spending your hard-earned “koins” to open up treasure chests that could have anything in them.
That joy is somewhat dampened by the knowledge that you can just buy your way out of the entire thing with a separate $20 unlock key. It’s not the only thing that’s been monetized, sadly: new options for executing easy, two-button Fatalities or skipping story or tower fights require tokens, which are also sold on PSN and XBL. It’s worth noting I never felt outright pushed to get any of this stuff, but between all that and the big “push X to buy Goro” message that appears when you cursor over him on the character-select screen, it’s a bit too much in-game marketing for me to be okay with. It didn’t impact my enjoyment of the experience exactly, but even a hair more aggressive, and it would have. It’s sad that we’re even in that territory.


Story only matters so much in a fighting game. Combat is king, and there’s a ton of depth to mine from Mortal Kombat X. A much-needed transfusion of new blood, along with the ability to choose between three variations of every character means we’ll be learning, grinding, and discovering for a long time to come. Its universe keeps getting harder and harder to take seriously, and its microtransactions are borderline gross, but Mortal Kombat X is a great fighting game all the same.

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There’s incredible power to Bloodborne. It’s not just an amazing dance of dodges and swipes through encounters that often push the limits of reflexes and endurance, it’s a thought-provoking experience that’s wormed its way into my mind and melted my resolve. But through perseverance, patient growth, and determined skill, it’s proved itself an unconventional adventure that ultimately gives much more than it takes – which at times can be a staggering cost. By the end, the only frustrations that don’t turn to triumphs are the technical ones. After more than 60 hours of grappling with its terrors, monsters, and the environment itself, I’m left dumbfounded by Bloodborne’s capability to draw powerful emotions from me, and make me earn the successes that I’ll remember for years to come.

Its unconventional approach to action-RPG gameplay walks a fine line between utter elation and despair as it takes us on an awe-inspiring journey through the highest peaks of satisfaction and the deepest, blackest pits of exhausted desperation. Developer From Software chooses to tell us little about how to survive its gauntlet, and yet expects feats of intelligence and perseverance in the face of its brutal, unrelenting difficulty. That balance is slightly upset by painfully long loading screens upon death or travel to different zones, but the highs of taking down one of the many intimidating bosses make up for those chunks of downtime.
Bloodborne’s semi-open world structure and hard-earned progression draw heavily from the Dark Souls and Demon’s Souls games that made From famous, though the aggressive new pace of combat is all its own.
These diving, rolling melee battles with an awesome arsenal of transforming melee weapons and tactical sidearms chiseled away my calluses and made me form new ones, even as a hardened Dark Souls veteran. Switching weapons between their light and heavy modes on the fly to string together combo-like attack chains in an engaging way injects a newfound versatility, even if it’s a less calculating kind of battle than we see in From’s earlier games.
That doesn’t make it any easier, though. Being overwhelmed by enemies is commonplace, but thanks to your ability to leech back lost health with quick counterattacks and to stun opponents with secondary weapons, I found it’s possible to sustain a constant onslaught when I’d built up enough skill.
And these tools are absolutely needed, as Bloodborne’s horrifying beasts span an imaginative range, from pedestrian insane village folk to cosmic horrors and patchwork fiends. Creature design strikes terror in many ways – enormous axe-swinging skeletons, peculiar semi-transparent childlike creatures, and subtle creepiness, like a coven of wailing, cleaver wielding hags – but each entity is well-crafted and triumphantly threatening. That’s best exemplified by the bosses, which have the power to mystify, terrify, and infuriate. I ultimately found many of those big fights much simpler than getting past the trial-and-error battles with dozens of smaller enemies I fought to reach them, but the satisfaction in each and every victory was huge.
The progression that follows those hard-fought wins is a carefully doled-out treat in Bloodborne. For one thing, the glowing pale purple lamps that serve as its version of checkpoints are scarce. Surviving long enough to reach the next point is rarely an option you can count on, but delving out of your comfort zone to find a secret shortcut back to safety brings a wave of comfort. Unfortunately, the inability to warp between these lamps without a layover back to the Hunter’s Dream (your ethereal-feeling home base) is a needless annoyance that exacerbates the issue with the extended load times.
After arriving at a destination, nearly every careful, blood-soaked step through the consistently stunning environments reveals something new about Bloodborne’s vague and cryptic lore. Whispers and clues are everywhere, begging to be interpreted. Despite a frame rate that all too often buckles under the strain of loading new areas or heavy action, the atmosphere retains its full effect. There’s a sense that this strange and dark place is alive. You could find a subtext of criticisms on real-world concepts like faith and worship in the understated dialogue, but taking each outrageously odd story point at face value is the more enjoyable path.

Yet your personal story will be created on your own terms, as you explore the spiderweb of paths and secrets that crisscross Bloodborne’s potent world. Everything is packed with hidden meaning, and spending time speaking with the forgotten citizens of the eerily rotting city of Yarnham yields new ways to interact with the world. At one point, I spoke with a victim of these dark circumstances who gifted me a family heirloom that seemed inconsequential at the time; it wasn’t until I took the time to read its description that it suddenly became a vital tool in a battle to come. Rewards in Bloodborne come with careful examination and curious effort, and I wouldn’t have it any other way.
There’s so much to do and see and try here that I obsessed over finding every secret, which greatly extends Bloodborne’s already lengthy playtime – though that number can easily be extended in a New Game Plus, or the refreshing procedurally generated Chalice Dungeons. These areas aren’t just more of the same – they’re loaded with items that can be carried back into the main story, exclusive weapons and bosses, and the player-versus-environment replayability that the Souls series was always missing.

And though Bloodborne is mostly an isolating and solitary experience, subtle cooperative elements enhance that in fascinating ways. Spotting (non-interactive) ghostly shades of other players passing through your area, reading warnings and tips left by people who have come before, and studying reenactments of player deaths by activating prompts on the ground all serve as cautionary tales – immensely helpful in avoiding surprises that would otherwise leap out and kill you.
Though these features are all mostly identical to their earlier iterations in Dark Souls, some things have improved. The best addition to the messaging system is the inclusion of emotes that spring to life like a hologram when someone reads the message. On the lowest rung of Old Yarnham, in a grimey alleyway corner, I used the available pick-and-choose word selection to lay down the message: “item waits ahead, but beware ambush,” then aimed and added the ‘point’ emote for a visual indicator to point to where a killer waited in the shadows. According to the rating system, it’s been very helpful to others, and that’s a great feeling. I saved lives.

As far as cooperative multiplayer, Bloodborne is every bit as obtuse as Dark Souls ever was. It allows you to call for help from another player when you need it most, such as a boss fight that feels like a brick wall or a group of enemies you don’t feel confident in taking on alone, by ringing a Beckoning Bell; any players ringing a response bell in the area will warp into your world. The catch (since there’s always a catch in Bloodborne) is that at the same time, you open yourself up to invasion from hostile players that are actively seeking to hunt and kill other hunters. In a rare move of compassion, this time around From has wisely included a password-protected game feature so that you and a friend can connect deliberately, removing some of the ambiguity of anonymous cooperation.

Bloodborne is an amazing, exacting, and exhausting pilgrimage through a gorgeous land that imposes the feeling of approaching the bottom of a descent into madness. Though extended load times and minor frame-rate hitches have an effect on the pacing, it’s otherwise an intensely challenging and rewarding game. There’s an incredible power to unlocking its mysteries, and in succeeding, despite its demand for a pound of your flesh.

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When we first reviewed Xenoblade Chronicles for Wii in 2012, we called it an amazing game. Here’s what we said then:
“Xenoblade Chronicles is the best Japanese RPG of this generation. The fact that it looks like it’s from the last generation is its only drawback, but its technical limitations are offset by imaginative artistic direction, innovative and compelling combat, and thoughtful design. It’s a throwback to the glory days of the genre, proof that there are always new ways to tell a story. If you’ve ever felt neglected by the lack of in-depth gaming epics on the Wii, you owe it to yourself to buy this.”

So how does the port of this epic RPG made exclusively for New Nintendo 3DS stack up? It still offers the same innovative ideas, deep combat, and an expansive world full of quests to complete for well over 60 hours of play, but it’s a little harder to look at.
Developer Monster Games has done an admirable job compressing Xenoblade’s grand world into a compact form, with only the textures noticeably suffering in the transition to a smaller, low-resolution screen. The downside is that some characters and environments just don’t look very good, either up close or zoomed out. Even so, the 3DS manages to capture the spirit and overall feel of Xenoblade’s massive world. It has the same grand vistas, whether you’re free-roaming the wide-open fields of Guar Plains or the deep jungle of Makna Forest, and the technical sacrifice means this version runs at the same speedy pace as the Wii game.
Control-wise, the New 3DS feels well suited to tackle Xenoblade. Bouncing between the C-stick and face buttons feels natural. The ZL and ZR buttons mean we get useful camera options to zoom in or out, and quick access to a fast-travel system. The only bummer is that it doesn’t even try to use the 3DS touch screen. That’s an unfortunate omission, since the touch interface could have made navigating the menus a little easier.

Likewise, Despite the 3D in the title, Xenoblade Chronicles 3D’s unremarkable use of 3D doesn’t make this version feel any better. Some cutscenes benefit from added depth, but there’s no sense of dimension added to gameplay.
So outside of letting us experience this RPG on the go, Xenoblade Chronicles 3D adds very little. Collectible 3D models of the major characters and a music jukebox are neat, but having already played it on Wii, I certainly wouldn’t buy it again just for that.


Xenoblade Chronicles 3D shrinks an epic RPG into a nifty portable form. Even though the New 3DS’ speedier hardware can’t make it look quite as good as it does on the Wii, its scope and scale still make it an impressive and deep game that’s well suited for play on the go.
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Helldivers is the rare game that knows exactly what it wants to do, and does it with complete confidence and authority. So much more than just another twin-stick shooter, it presents us with incredibly varied mission sandboxes and tactical options, then respects our intelligence enough to let us figure it all out on our own or with three friends. The result is some of the most white-knuckle co-op action I’ve ever experienced.

From the opening cinematic, Helldivers wears its Starship Troopers influences on its sleeve. The tongue-in-cheek, over-the-top way in which it sets up the ongoing war between the aliens and our homeworld, Super Earth, is a clear nod to director Paul Verhoeven’s film, and it lends the action a delicious sense of both humor and danger. It’s mostly superficial in that the themes of radical Nationalism are never really explored, but the jingoistic one-liners your space marine spouts out are chuckle-worthy all the same, effectively drawing me into Helldivers’ persistent online war despite knowing my people probably started it for all the wrong reasons.
This questionable galactic war is fought on three fronts against the tech-heavy Illuminate, the gun-toting Cyborgs, and the Tyranid-esque bugs known simply as…bugs. Each faction brings a diverse set of units to bear, requiring you to either adapt your tactics, or die a horrible death. Cyborgs tote a lot of small caliber firearms, making heavy body armor a great choice to shrug off volleys that might have otherwise put you on the ground. Don’t forget to bring something to punch through armor too, or you’ll spend the better part of your mission running from mixed groups of tanks and hulking mechanized super-soldiers. On the other end of the spectrum, failing to pack some extra ammo for your shotgun against the bugs is usually a fatal mistake, since they love to get up close and personal.
Every online match of Helldivers feeds into this three-pronged war, with each front’s greatest contributors being cleverly immortalized with an ever-present leaderboard. As you and your fellow heroes retake planets by waging successful missions, the war will eventually spill over to the alien homeworld, or to your own if not enough people are fighting the good fight. Either situation leads to a timed special event where all players are called on to make one final push, or a desperate last stand. It’s a smart system that gives each mission a greater sense of purpose, not to mention an urgency to log on every day to do your part.

The real magic though, happens when you start unlocking more of Helldivers’ large arsenal of perks, weapons, upgrades, and equipment calldowns called stratagems. After over 25 hours, I still haven’t gotten everything, and from disposable anti-tank weapons, to gun-covered troop-carriers, every piece of gear feels meaningful, since each ends up being particularly useful for certain objectives or against particular foes. Capture or defend objectives call for sentry turrets, where snow-covered maps might tempt you to bring an exo-suit or a jump-pack to make traversal easier. You can only bring so much though, and adapting your loadout based on what your objectives are and what your teammates are bringing is where Helldivers exhibits much of its depth.
No matter what you bring to the fight though, Helldivers’ meaty sound effects convey the action convincingly, despite its so-so visuals. Whether you’re squeezing the last few rounds out of a heavy machine gun, or obliterating a screen full of enemies with a thundering artillery strike, everything sounds powerful and threatening.

Many of these delightful bits of kit are designed to facilitate cooperative play. The recoilless rifle, for instance, comes with a separate supply pack with extra ammo. You could carry it yourself, but the reload time between shots will make it pretty impractical to use. Have a buddy carry the supply pack though, and they can walk up to you and toss in another shell in the blink of an eye. Touches like this make a full party of four feel like a cohesive fighting unit where every member is more powerful than they would be alone. Helldivers’ drop-in co-op makes forming a party easy from the couch, online, or a mix of both, which is fortunate, because while going solo can be rewarding in its own right, you can only get so far on your own.
The fact that virtually everything is deadly, be it friend or foe, makes every mission tense. Drop pods bringing a fresh supply of ammo might unceremoniously turn a teammate to goo, or a poorly placed airstrike might do more harm than good. There’s just so much nitty gritty to get into, from going prone to let teammates safely fire past you, to using 90-degree angle shots to maximize armor penetration against enemy vehicles, and the cost of learning is almost always paid in blood – be it yours or a teammate’s. But when you and your team fire on all cylinders to turn back the intense waves of enemies coming your way long enough to dramatically hop in a dropship and make a narrow escape, the sense of accomplishment is positively euphoric.

It isn’t the prettiest game you can play on PS4, PS3 or Vita, but Helldivers is one of the most exhilarating, and you’ll get all three versions for the price of one. It pits you against seemingly impossible odds, arms you with a powerful, diverse toolset, and empowers you and a group of people to put the pieces together – and they all fit together beautifully.

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Much as I prefer to let each game stand on its own, certain games demand comparisons. In the case of Cities: Skylines, developer Colossal Order has overtly modeled its game after SimCity – not just the fundamental concept and methods of building and maintaining a simulated city from the ground up, but much of the look and feel as well. And on almost every count, Skylines compares very favorably to the former standard-bearer of the city-building genre. It is, in fact, the best of its kind to come along in a full decade – a powerful, flexible, beautiful, and all-around impressive simulation that lets you build sprawling, single-player metropolises to your heart’s content. Building has to be its own reward, though, because the lack of random events or disasters leaves the job of running these towns feeling sleepy and meditative.

Playing as part mayor, part god-king with the power to arbitrarily bulldoze your simulated citizens’ dreams and create schools with a click, building a city from scratch is mostly conventional: lay down roads with the easy-to-use tools, designate zones for residential, commercial, or industrial buildings, provide utility services, reap the tax boon, then repeat the cycle with new stuff that’s been unlocked by your growing population hitting new milestones. Skylines finds a mostly happy medium between the complexity of SimCity 4 and the relative simplicity of SimCity 2013 by automatically attaching zoneable areas to roads as they’re laid, but still holding onto obligatory busywork like laying water pipes. Those basics are all tried and true – you couldn’t have a city-builder without them – so it’s mandatory that they be done well. Cities: Skylines does that.
The first way this sim knocks it out of the park is in its scale. Each game begins as deceptively small, constricting you to a four-square-kilometer area (the same size as a SimCity map, entirely by coincidence I’m sure), but quickly allows you to buy access to an adjacent plot of land of equivalent size. Then it does this seven more times, for a total possible area of 36 square kilometers. Suffice it to say, there’s plenty of room. And while you can’t directly edit terrain while you play, there’s an included map editor where you can create any land mass you choose before you jump in – or download one from the prominently integrated Steam Workshop mod support.
With such large cities, it’s fantastic that Skylines allows you to define and regulate areas individually. Simply paint a chunk of your city with the District tool, and you can not only name it so you can spot it easily on the map, but give it unique policies that regulate everything from mandating smoke detectors to reduce fire hazards (at a cost) to legalizing recreational drug use for lower crime rates, or banning highrise buildings to create defined downtown and suburban areas. In industrial zones, you can specialize the businesses to exploit a map’s natural resources in the area to mine ore, drill for oil, farm on fertile land, or harvest trees for forestry. You can even create tax incentives for a specific type of zone within each district.
Let’s zoom in for a moment: we can see individual humans walking through the streets, going to work or school, engaging in leisure activities, or returning home by the thousands. They drive cars, take trains, and even walk dogs. (You can individually name them, but I suggest naming them Waldo, because there are so many that if you find that specific one again you I say you basically win the game.) This is where you realize the time scale becomes absurd. On the slowest speed a day lasts 10 seconds – three and a half on the fastest – which means the journey to work could last a week. But the lack of a day and night cycle means time doesn’t seem too unnatural, but rather an abstraction to serve the speed at which things are built and tax money flows in.
Making a major city’s traffic flow smoothly is a puzzle I haven’t come close to fully cracking yet, but I do feel good when I easily create overpasses and freeway onramps to experiment with routes that direct the flow and ease the gridlock… at least partially. By default, most advanced road types are locked out at the start, which makes planning a city around trains or subways nearly impossible (unless you plan on supervillain-level demolition later on), but there’s a sandbox mode that’ll allow you to build whatever you want, whenever you can afford it. (There’s also an unlimited money mode.)
Mass transit is a tricky beast. It’s not enough to lay down bus stops and train stations; you have to plot out routes individually, or no one will go anywhere. It’s easy to get lost in that, especially as routes start overlapping and it’s frustrating to get your bus stop placed on the correct side of each narrow road. But there are a lot of options, and the endorphin rush from making a red traffic data overlay turn green makes it all worth it.
Up close, buildings are colorful and detailed, right down to small animations like rooftop fans spinning. A slider in the options menu gives us control over the amount of depth-of-field blur applied to distant buildings when zoomed in, which mimics SimCity’s attractive diorama effect. Skylines doesn’t match the graphical quality of SimCity, though, and given the great numbers we see them in they don’t quite have the variety needed to prevent most neighborhoods from looking pretty much the same.
What Skylines isn’t good at is telling you what you’ve done wrong, and what problem you need to solve right now. For instance, when I hit 50,000 citizens, the gauge at the bottom of the screen that indicates what new zone type my city wanted in order to expand bottomed out. It didn’t want anything at all. Hundreds of buildings were abandoned, without explanation. How can I address the issues that are hamstringing my city when I don’t know what they are, and the in-game advisors provide no insight? I built new residential, commercial, and industrial zones and waited; eventually, without my taking any deliberate action or receiving any explanation, the zones filled and growth resumed upward of 100,000. I don’t understand why.

In that light, it’s fortunate that it’s fairly difficult to send your city into a death spiral without actively trying to, or making worse financial decisions than Greece. It has to be as deliberate as placing a sewage drain pipe directly upstream from your water pump – basically piping raw sewage into your citizens’ tap water – or borrowing more money than you can ever hope to repay. Even crime is disappointingly easy to keep in check with a single police station serving a town of 40,000.
It’s limited to man-made crisis-management because there are no earthquakes, tornadoes, destructive floods, nuclear meltdowns, zombie outbreaks, UFO or monster attacks, or anything fun like that. The only thing close to a disaster is a fire, and those don’t spread from one building to another, even if left completely unchecked. I don’t mean to fault Skylines for not cloning every single feature of SimCity, but I do consider disaster management to be a major part of running a big city, and without it Skylines lacks a certain sense of excitement that’s been a staple of the city-building genre since the beginning.
Likewise, it’s really hard to become unpopular without trying. Even during periods of what the in-game fake Twitter and an abundance of abandoned buildings would have me believe to be times of great distress, I’ve never seen the “general happiness” icon in the menu bar dip below what I’d describe as “a psychotic grin.” Those tweets (or Chirps, as they’re called) initially seem helpful, pointing to power outages and the like, but are quickly drowned out by repetitive and useless in-jokes and chatter. There’s no way to turn it off, unfortunately.
I suppose I could probably drive public opinion down if I took the bait and really tried. Skylines grants access to unique buildings like stadiums and observatories behind achievements, which range from encouraging, such as educating 50 percent of your population, to the demoralizing, such as allowing garbage to pile up, unemployment to skyrocket over 50 percent, average health to plummet, have 1,000 simultaneously abandoned buildings, or other generally unpleasant things. I haven’t brought myself to wreak that kind of destruction yet, since I do have a sort of attachment to my cities, but I have unlocked enough of them that I was able to reach the somewhat underwhelming final goal of building a Wonder – in my case a Space Elevator, which served as yet another tourist attraction. Regardless, a lack of public approval doesn’t seem to be something you need to fear in Skylines, which is slightly demotivating.

More than anything, Cities: Skylines is about the simple joy of building. It’s a really impressive and often beautiful simulation, where an amazing number of virtual people go about their business across a huge swath of land. Getting in and creating something is easy, though mastering it will require extensive research on community wikis to understand why growth is stunted even when you address your citizens’ apparent concerns. Don’t expect exciting scenarios or random events, but do expect to be impressed by the scale and many moving parts of this city-builder.

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Final Fantasy: Type-0 had me in tears after watching a chocobo bleed to death in the opening scene, and for the next 40 hours I would experience everything from sadness to disbelief as the thin but reverent story unfolded. During that same time, the zippy action-based combat made running around the world of Orience a lively experience, though viewed through an occasionally obstinate camera. Type-0 has a strange dichotomy of action and emotion, but it comes together to create a roleplaying game that works on multiple levels.

Everything in Type-0 is tied to war, which makes for some intriguing presentation of the usual Final Fantasy features. Magic comes in the form of fire bombs, lightning missiles, and ice bullets, while the story progresses via military campaigns that involve liberating towns, defending bases, and invading cities. Even chocobos are bred for war; I liked that by capturing birds in the wild and correctly breeding them, you can hatch combat-ready chocobos that help fight in sorties, or can race across the world map to quickly arrive at a destination.
The tale of an elite group of young cadets fighting an aggressive military empire serves as a reminder that it’s the young who die in war, and who are the first to be forgotten. Class Zero’s emotional struggles – like watching friends die on the battlefield and then feeling guilty because they’re unable to remember them, is incredibly moving. Unfortunately, the cringe-worthy voice acting in the English-language version sometimes distracted from the solemnity, especially when the class loudmouth Nine kept adding “yo” and “hey” after every bloody sentence. Luckily, there are humorous moments sprinkled in to lighten the mood and keep the story from getting too dark; I laughed out loud when a saucy cadet named Carla sweet-talked a military instructor, then turned around to brag about her manipulation skills.
Campaigns that involve running through city streets or infiltrating fortresses were pretty fun, but I had a hard time with the real-time strategy missions that popped up here and there. I nearly rage quit one operation because the stubborn camera and clunky controls made it hard for me to move around the battlefield. These annoying mechanical issues were inherited from the original PSP version of Type-0 (which was released exclusively in Japan back in 2011), along with a few other noticeable limitations: NPCs have blocky faces, wall textures are blurred and jaggy, and dungeons and towns are little more than long, monochromatic corridors. I was so bored by most environments that I stopped caring about them halfway through the story.
That said, the “HD” graphics in Type-0 definitely have some wonderful lighting and shading effects. This is especially apparent in the central hub area of Akademia, where marble floors gleam with a fine polish, and beams of sunlight stream brightly through large glass windows. CGI cutscenes are especially well done, with detailed animations of Eidolons soaring through the sky, and brutal close-ups of soldiers being slaughtered on the ground. Developer Hexa Drive did a great job bringing these powerful scenes to full-sized TV screens.
Final Fantasy Type-0’s best feature, though, is the rapid, action-based combat that allows you to mix and match party members to create versatile three-man squads on the battlefield. Each member of Class Zero has their own distinct weapons, abilities, combat styles, and speeds, which makes them feel like real individuals: Jack is slow-moving but can easily slice through monsters with his sword, Seven can nimbly dodge enemy soldiers while using her chain whip to deal out vicious attacks, and Rem can use her Undying Wish spell to temporarily prevent cadets from falling on the battlefield. And if one of your team members does fall, you can immediately summon another cadet from Class Zero’s reserves to replace them, or call on a powerful Eidolon to help thin out enemy ranks. (Eidolons tend to be unwieldy, though, and require the sacrifice of one of your party members in order to summon them.) You can even request NPC support units from Akademia to help you on campaigns, which is a nice way to earn special points that can be used to acquire rare items.
Whether I was fighting mundane soldiers or taking on more exciting enemies like poison-spitting serpents and giant, angry snow beasts, I felt powerful because the combat was always super fast paced. In fact, many victories were achieved in less than a minute using the handy “kill sight” and “break sight” features, which allow cadets to heavily damage or even instantly kill an enemy with a well-timed attack.
Levelling up so many cadets in order to make sure they were all combat ready required a lot of patience, but I didn’t mind since Type-0 includes a nice array of ways to beef up your characters. You can accept side quests from NPCs, train at Akademia’s battle arena, increase magic skills by attending a lecture, participate in random battles on the world map, or re-do story campaigns accessed from the main menu.

It may seem like it’s easy to overpower Class Zero, but almost everything you do is tied to the limited amount of free time you have between military campaigns. This clever bit of time management forced me to think carefully about which activities I participated in: did I want to spend two hours talking to an NPC, or leave Akademia and lose six hours so I could go on a monster hunt? Time was of the essence, and I enjoyed having to use it wisely.
Finally, I had a little bit of an issue with the convoluted ending, which requires a second playthrough and a lot of reading up on Orience’s lore to fully comprehend. I didn’t mind relying on the in-game compendium for some things, but having to bend over backwards to understand what’s going on didn’t add anything to the story.

Type-0’s gritty tone, fast-paced action, and strategic approach to time management is a welcome change of pace from the usual Final Fantasy experience. Though an exasperating camera and clunky mission controls sometimes dampened my fun, I enjoyed meeting the Class Zero cadets and guiding them through battle. There’s definitely no other class quite like them

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