Source link https://gdconf.com/news/important-gdc-2020-update
Destiny 2 is the latest game to abandon paid loot boxes, with director Luke Smith announcing in a new “Director’s Cut” state of the game update that “we want players to know what something costs before they buy it.”
The change means that the randomized “Bright Engram” items will be removed from the in-game Eververse Store. Players will still be able to purchase paid cosmetic items in two ways: by directly purchasing an item they desire or by buying the Fortnite-style seasonal pass and unlocking it there. (Although some items will only be available for direct purchase.) The difference is that, now, you’ll know exactly what you’re buying and how much it will cost upfront in Destiny 2, instead of rolling the dice on getting the cosmetic item you want.
The randomized “Bright Engram” loot boxes will still remain in the game, but they’ll exclusively be available for free for players to earn through the free-to-play portion of the season pass; players won’t be able to spend real-world money on them anymore.
Players will still be able to purchase items from the Eververse Store with a free in-game currency called Bright Dust, should they want a premium item without having to shell out the cash. (Obviously, Bungie isn’t too generous when it comes to distributing the free resource, given that it wants players to pay for things. The pool of Bright Dust items also tends to include only older cosmetics from prior seasons.)
The move away from loot boxes in Destiny 2 reflects the changes to the game (and the overall industry) that we’ve seen in the past few months. Last year, Bungie announced that Destiny 2 would be shifting to a free-to-play title, with seasonal passes that players could buy upfront at the beginning of a season of content for $10 to unlock items and cosmetics as they leveled up over time. It’s a strategy pioneered by the massively popular Fortnite, which runs entirely on a similar system of paid cosmetics and a battle pass.
The gaming industry, in general, has seen a massive backlash against randomized loot boxes in the past year; there’s now talk of legislation that would ban selling the items to minors, and Nintendo, Sony, and Microsoft have all committed to disclosing the odds of getting items from loot boxes in future titles. Developers Activision Blizzard, Bandai Namco, Bethesda, Bungie, EA, Take-Two Interactive, Ubisoft, Warner Bros., and Wizards of the Coast have also made similar pledges.
Square Enix has filed a new trademark for spin-off title Final Fantasy 7: Dirge of Cerberus, fuelling speculation that a remaster or other related project may be on the cards.
Final Fantasy 7 Dirge of Cerberus Trademarked Again
There’s nothing in the description for the Final Fantasy 7 Dirge of Cerberus trademark filing, but it does feature a new logo that wasn’t featured in the original release. Naturally, this has got folk wondering if Square Enix is looking to bring the game back in some shape or form, either with a remaster or a new game.
For those out of the loop, Final Fantasy 7 featured a wealth of spin-off titles and other supporting projects across different media, known as the Compilation of Final Fantasy 7. This included not only Dirge of Cerberus, but also Crisis Core: Final Fantasy 7 for PSP, the CG movie Final Fantasy 7: Advent Children, and a mobile title Before Crisis: Final Fantasy 7.
Final Fantasy 7 is obviously a big thing right now, with Square Enix launching part one of a full-blown remake for PlayStation 4 on April 10.
As for Dirge of Cerberus, the game launched for the PlayStation 2 back in 2006, and takes place three years after the events of Final Fantasy 7, and sees players controlling Vincent Valentine, one of the optional characters from the original game.
Unlike Final Fantasy 7 however Dirge of Cerberus isn’t an traditional RPG, but rather, a third-person shooter with RPG elements. Players still collect EXP from vanquishing enemies, and can equip three types of items in battle, namely weapons, armor, and accessories.
Here’s the official blurb for more:
The time has come to cleanse this world. Hunt down the unworthy…and show them no mercy. Three years have passed since the events of FINAL FANTASY VII. Buried alive following the Meteor disaster, a mysterious group known as the DG (Deepground) Soldiers emerges and begins raiding the city.
The enigmatic Vincent Valentine is somehow connected to these attacks, and he may be the only one who can save this shattered world.
Source: Segment Next
If im putting my controller down to charge, im obviously not using it, so a more cost effective wired method isnt going to affect usability.
If im charging while playing, I dont want some bulky adapter attached to the controller.
When I caught wind that Capcom working on a Resident Evil 3 remake, I was beyond juiced. The original game has a fair share of shortcomings, but I have such a deep fondness for it–a love rooted in a youth spent organically discovering its charms shortly after the release of Resident Evil 4. With my rose-tinted passion for the game, I expected that I’d be partial to what Capcom is doing with its reimagining of RE3, especially after last year’s incredible Resident Evil 2 Remake, but I still had some concerns. Chief among them: how could Capcom hope to reinvigorate another classic Resident Evil game so soon? Not only that, but one that’s mostly a point-five-sequel that branched off in a more action-focused direction? After playing a few hours of RE3 at a preview event, I found that the answer is once again by creatively reinterpreting the original’s legacy.
Set before and after the second game, RE3 has you playing as fan-favorite protagonist S.T.A.R.S. officer Jill Valentine, as she struggles to find a way out of Raccoon City at the onset of the T-Virus outbreak. With zombies lurking, that’s a big ask, and it gets worse when Jill realizes she’s being hunted by a Tyrant-like Umbrella bioweapon known as the Nemesis.
There’s a welcome familiarity to RE3, not only because it’s a reimagining of something that came before, but because of how it was only a year ago that we experienced Resident Evil in this form. You can tell that RE3 is built on the foundation of RE2, but even with identical assets and mechanics, RE3’s exciting potential is in how steadfast it is in re-envisioning the spirit and design of the original, while also making it feel like a fresh, yet iterative sequel to its predecessor. Iconic events and locations are revamped, the action has been elevated, and the infamous Nemesis has been reborn with a menacing unpredictability. At times, RE3 feels like a second go-around at RE2–as it should, to a degree–but the more I played, the clearer it became that it’s shaping up to be more than that.
This preview will focus primarily on my time spent with the RE3 campaign. We also got to play Resident Evil Resistance, a standalone asymmetrical multiplayer game packaged alongside it. But aside from a couple of new characters, much of it remains the same as what we previously played and discussed in our initial impressions a few months back, which you can watch in our Resident Evil Resistance preview.
A Deeply Reimagined Raccoon City
At the start of my demo, I was immediately thrown into the pandemonium of Raccoon City’s streets. A wave of death had recently washed across most of the city, and in its wake, I found nothing but abandoned storefronts and the shambling undead. Like its predecessor, RE3 focuses on reimagining the events of its source material rather than creating a 1:1 remake. Circumstances and objectives are similar to their original counterparts, but everything in-between is drastically different. As Jill, I once again had to reactivate a substation to power a train car to get out of Racoon City. However, the journey to doing so involved a new series of areas to explore and puzzles to solve.
RE3’s Racoon City is larger in scale than RE2’s labyrinthian environments, but the few pathways remaining in between the barricades still felt like cramped, dangerous corridors capable of trapping me as punishment for overconfidence and curiosity. It’s unclear if more spacious areas await later on, but in the span of a few minutes, I made my way through several alleyways and shops, like a drugstore and a ’50s era-inspired donut shop. Diverse areas like this already make Raccoon City stand out from the bleak damaged urban backdrop it was in the original.
Dread and panic hung over me in my efforts to navigate each area, which made exploring Racoon City feel urgent and unpredictable. Dead bodies littered the streets, but I wondered, would one rise to meet me? And what about the other threats I couldn’t readily perceive just outside my view in the open night air? Those uncertainties gripped me just like they had when this premise first appeared in the PS1 original. As someone familiar with that game, RE3’s reimagined moments also kept me on my toes. The trip to the substation, for instance, yielded no power regulator puzzle as it did in 1999, but an area infested with what I assume to be this game’s interpretation of the Drain Deimos, which can now reach inside your mouth and shove its insect babies down your throat. Gross.
There were also plenty of classic Resident Evil resource-gathering moments where I had to consider whether to grab supplies, imagine how I could go back to get them if I didn’t take them, and then weigh the odds of my ability to nab them without getting hurt. While RE3 hurries you through numerous terrifying locales, there’s time to backtrack and get what you need along the way. You’re still incentivized to explore, though the game encourages you to do so more hastily.
It’s hard to go into much more specifics about the changes without ruining the surprise of it all, but know that this version of RE3 takes far more liberties in twisting and retooling events, making the descent into a mid-outbreak Raccoon City feel fresh, believable, and exciting. Where the early goings of RE2 instilled a sense of warmth with the familiar yet subtly remixed hallways of the Raccoon City Police Department, RE3 seems to displace further your sense of safety and nostalgia with a world that barely resembles the one you might remember.
More Action-Packed, But Still Survival-Horror
Admittedly, all this talk about how RE3 compares to the original probably matters little to newcomers to the series, and that’s fine. The additions and refinements made to RE3 from RE2 are proving substantial enough for a return visit to Racoon City, regardless of whether you’re familiar with the series’ extensive history.
There’s a greater emphasis on action compared to RE2 with more zombies populating areas. It never approaches horde-level numbers, but the increase in the undead coming at you on all sides is enough to feel overwhelming. The ones you’ve killed (and not decapitated) are also more prone to getting back up over time. Fortunately, you seem to get just enough ammo and gunpowder to accommodate this shift in pace, as well as a diverse arsenal of weapons that become available far sooner than in RE2 to help deal with the substantial threats lurking in the city streets. There’s also a multi-directional dodge maneuver that can help you slip past enemies, which, when timed right, allows you to perform a brief slow-motion headshot on the creature you evaded, should you choose to do so.
Resident Evil 3 – Announcement Trailer
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RE3 handles its slivers of heightened action with an elegance that seems to properly humble your overconfidence and satisfy the broader range of playstyles the series has cultivated over the years.
In RE3, you’re more frequently confronted with the choice of fight or flight than the slower, more measured encounter-rate of RE2. The increased action on display doesn’t do away with its predecessor’s renewed focus on crippling tension and haunting atmosphere. Instead, the game adapts and accelerates it to a new pace, forcing you to scramble for solutions against its seemingly unrelenting horrors with little ammo to spare.
In most Resident Evil games, I prefer to take things slower and be more frugal with my resources, and RE3 was still willing to oblige those tendencies. Of course, this meant I had to be more clever, which was a rewarding challenge all its own. Often I used environmental hazards, like explosive barrels, to my advantage to dispatch multiple zombies with minimal bullets, while other times, I lured them to a corner so I could create an opening to dodge past them.
This willingness to accommodate and challenge different playstyles was the team’s intention: “So with [RE3], there’s more openness in deciding how you want to play,” Fabiano said. “You can play it more like an action game if you want, and master mechanics like the perfect dodge, which speaks to the empowerment provided by the original RE3. But at its core, the game is still survival-horror. So you certainly can play it more in a pensive way.”
This sentiment is reassuring, and so far in practice, RE3 handles its slivers of heightened action with an elegance that seems to properly humble your overconfidence and satisfy the broader range of playstyles the series has cultivated over the years.
A New Kind Of Nemesis
Speaking of being humbled, RE3’s version of the infamous Nemesis is a relentless beast. Tasked with hunting and killing Jill and her fellow S.T.A.R.S. unit police officers to cover up Umbrella’s crimes, this beefy bioweapon is meant to be an active nuisance that chases you through the game. Nemesis didn’t appear until halfway through my demo, but when he did, I was thrown into an instant, audible panic–much to the dismay of those around me at the Capcom office.
Compared to RE2’s Mr. X, Nemesis is faster and more aggressive. He can and will catch up to you if you try to run for it. Any beelines you attempt can be instantly halted by this behemoth swiftly jumping ahead of you, carelessly trouncing any unfortunate zombies that happen to be in the way. He frequently grabs you with his tentacles to drag you back towards him, and when he does corner you, it only takes a handful of punches from him before you’re down for the count. Nemesis is intimidating and unpredictable, often quickly popping out and assaulting you from directions you least expect.
After being pummeled to death a few times, I found that there was no use in running away from Nemesis. He isn’t like Mr. X, who could easily be outrun if you faked him out around some tables, or baited one of his lunges. I needed to actively find ways to slow Nemesis down to slip past him. Whether that was a precisely-thrown grenade or a shotgun blast to face, RE3 challenged me to use every wit and resource I had to confront and evade my pursuer, and I genuinely loved that. It forced me to be even faster at thinking on my feet and brainstorming solutions with that same risk-reward decision making that I adore from the Resident Evil series. While I’m sure it’s going to involve me incessantly yelping in terror several times more, I’m already eagerly awaiting the next time I can revisit the section I played, so I can learn and better understand Nemesis’ behaviors and the strategies needed to overcome him.
Nemesis is intimidating and unpredictable, often quickly popping out and assaulting you from directions you least expect.
My demo ended with a big set-piece boss fight with the Nemesis, who seemed to have gotten his hands on a flamethrower after the last time I’d seen him. This fight, in particular, is the only part that concerned me about Nemesis in RE3. It’s the most directed encounter I had with the beast. It began with a chase through a building, which proved riveting, but I started to get taken out of the ordeal when I noticed the path I followed had a couple save rooms in close proximity to one another, where Nemesis couldn’t pursue. It was hard not to feel like their presence dampened the impact of it all, as if the foundational mechanics of RE2 that RE3 is built on couldn’t quite keep up with the adrenaline-fueled pace the moment demanded, and needed to ensure you had multiple opportunities to get enough supplies for the incoming fight. Admittedly, this pacing concern is minor, but I’m hoping RE3 can consistently leverage Nemesis for some genuinely harrowing moments so that I can feel no hesitation being consumed by the high-stress and anxiety it wants me to feel. He’s already done a magnificent job at doing that to me already, after all.
The Terror That Awaits
I’m delighted that RE3 seems to be drastically reinventing itself to be something more than the original. The promise of both a new Racoon City and Nemesis is enough to entice me. And in other parts, where the game seems an iterative point-five sequel to RE2, the tweaks and reworkings it offers to the formula manage to invoke a unique vision that’s captivating all its own.
It’s intriguing to see how much Capcom is redefining what it means to revisit classic games, so much so that it makes me wonder how much these reimagined remakes will impact the series’ legacy and identity moving forward. To re-experience a game I love in a new, but familiar way is truly special–it’s not an everyday thing. April 3 can’t come soon enough. It’s clear now more than ever that this is another Resident Evil that demands your attention.
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We have some very sad news to share with our China based players. We’ve just been informed that Plague Inc. “includes content that is illegal in China as determined by the Cyberspace Administration of China” and has been removed from the China App Store. This situation is completely out of our control.
Plague Inc. is a huge critical and commercial success. Eight years old and with over 130 million players, it’s the #1 strategy/simulation game worldwide and has been the most popular paid game in China for many years. Plague Inc. stands out as an intelligent and sophisticated simulation that encourages players to think and learn more about serious public health issues. We have a huge amount of respect for our Chinese players and are devastated that they are no longer able to access and play Plague Inc.
It’s not clear to us if this removal is linked to the ongoing coronavirus outbreak that China is facing. However, Plague Inc.’s educational importance has been repeatedly recognised by organisations like the CDC and we are currently working with major global health organisations to determine how we can best support their efforts to contain and control COVID-19.
We are working very hard to try and find a way to get the game back in the hands of Chinese players – we don’t want to give up on you – however, as a tiny independent games studio in the UK, the odds are stacked against us. Our immediate priority is to try and make contact with the to understand their concerns and work with them to find a resolution.
Nothing is changing outside of mainland China: we will continue to support and update both Plague Inc. and our newest game Rebel Inc. on all platforms whilst also working hard to try and find a way to bring Plague Inc. back to players in China.
Should you be looking to get a new motorsport fix then Overpass on Xbox One, PS4 and PC may well provide it. Just don’t expect to be found harnessing the power of speed.
Available to purchase and download on Xbox One, PS4 and PC, Overpass is the latest off-road motorsport experience to arrive on console and PC, allowing us to become one with nature and prove we have the driving skills to take down all-comers.
Overpass does away with the need to go fast, instead attempting to harness precision racing as you tip-toe your way across a multitude of obstacle courses and hill climbs in a variety of ATV and UTV off-road beasts. With licensed manufacturers in place, plenty of upgrades to purchase, and some serious tests of skill included in the events, Overpass could well be the off-road racer’s dream.
Our full review of Overpass on Xbox One will however tell you what is what and whether or not we feel that Overpass is a worthy purchase. Quick spoiler, the asking price for Overpass certainly knocks things down a little and the £49.99 being asked for the Standard Edition of the game from the Xbox Store is pretty steep. And that’s without mentioning the £58.49 Deluxe Edition which includes a number of additional packs. These add-ons brings Expert Vehicles (also available for £5.79 individually), a Smart Start Pack which brings additional sponsors and repair kits (£2.49 if you wish to buy it seperately), and the Drive With Style Pack (£2.49) which provides further liveries.
If you wish to give it a shot though and reckon that getting behind some of the most powerful UTV and ATVs in gaming then the option is there to do so. Let us know what you think of it all though – the comments section is down below. As is the launch trailer.
In OVERPASS™, the scree slopes, steep inclines, tree trunks and bogs present as much of an obstacle to victory as other drivers. At the controls of powerful buggies and quads from major manufacturers, such as Yamaha, Polaris, Arctic Cat and Suzuki, venture off into extreme off-road environments and challenge yourself on the game’s highly technical tracks. Cope with vehicle damage, and negotiate the many natural and artificial obstacles in your way to achieve the best time possible. Pure speed is not the name of the game; you’ll need to master the realistic terrain physics and unique characteristics of the game’s vehicles. Carefully select your UTV or ATV, plot your route intelligently, and manage your acceleration and the various differential and drivetrain options to dominate in local and online competitions.
While Blizzard Entertainment has not had the best of times lately, one of their most beloved franchises still has plenty of fans excited. Diablo IV was first revealed at BlizzCon 2019, and fans are dying to learn more about the new entry.
As part of community updates, a Diablo IV blog has been set up. Hard at work since the convention, the development team is now ready to share more about the game. The quarterly update sheds more light on post-BlizzCon feedback, UI design, controller support, and co-op, as well as a new monster family.
A better player experience
Lead UI designer Angela Del Priore discusses your inventory layout. Rather than the different-sized items that we are used to in past games, Diablo IV will take a different approach.
Item icons will now be “directly based off the 3D models to give them natural texture and realism.” The backgrounds have also been toned down, and rarity is now denoted via border decoration.
This comes following changes made to the way Diablo IV will be dealing with itemization.
Ultimately, Blizzard is trying to achieve “a more balanced composition” and a “gritty, realistic UI.”
Left-clicking has been integral to the Diablo experience from the start. Having garnered feedback that certain players will prefer rebinding “the primary skill to anything but the left mouse button so that they could separate moving from attacking,” Blizzard is doing just that. Now you can have the freedom to assign any “any skill to any slot from the get-go.” The keys for all skill slots can also be rebound, and this will apply to controllers as well.
Changes are incoming for the action bar as well. After experimenting with a left-corner configuration, Blizzard will provide both left and center support for PC:
The preferred position changes to the left-corner when people play further away from the screen. This doesn’t come as a surprise given the shift in viewing angle, but it does mean that the center configuration isn’t a majority winner on PC since we’re supporting controller input.
So, while we will only stick to the corner configuration on consoles, we will offer both left and center positions as options on PC.
With Diablo IV being developed for both consoles and PC, controller support is a no-brainer. However, it definitely gives the developers more to think about. The UI had to be flexible to support both options as players can switch on the fly.
The adoption of a more grid-based UI provides ease of navigation, but interactions will change.
“We try to maintain this sort of approach, of keeping established keyboard and mouse conventions while creating controller-friendly shortcuts or alternate flows, throughout the game,” Blizzard stated. “Controller support shouldn’t be a limiter on how complex our game can be; it just means we have more paths that we need to consider. It’s not a simple undertaking, but we’re really striving for a native feel for both types of inputs.”
Couch adventures in Diablo IV
Reaper of Souls brought couch co-op to Diablo, and it was an enjoyable experience, to say the least. However, a common complaint was that having a UI screen open meant the other player could not do anything.
To solve this issue, the devs have “decided to focus on improving the favored 2-player co-op experience and set up our core progression UI screens such that they can be opened independently or at the same time.”
This will likely change over time, but “ease of interaction comes before visual polish.”
Feedback is appreciated
It is obvious that the community matters a lot to the developers, and feedback regarding the many systems in the game will help shape the final release of Diablo IV.
Fans can provide valuable feedback and see changes made by a committed team. This will hopefully go a long way in repairing Blizzard’s reputation in the long run and give us the definitive Diablo experience.
Blizzard is not just sharing about UI changes, but also introducing a new monster family, Cannibals. Stay tuned for more info on that.
Up, up, down, down, left, right, left, right, rest in peace.
Kazuhisa Hashimoto, a producer credited with implementing the fabled “Konami Code” that gave players godlike cheats in Contra, Gradius, Castlevania, and other Konami games for the Nintendo Entertainment System, died on Tuesday. He was 61.
We are saddened to hear about the passing of Kazuhisa Hashimoto, a deeply talented producer who first introduced the world to the “Konami Code”.
Our thoughts are with Hashimoto-san’s family and friends at this time. Rest In Peace. pic.twitter.com/vQijEQ8lU2
— Konami (@Konami) February 26, 2020
Hashimoto was a programmer and producer for the home console port of Gradius, which in 1986 was the first video game to use the Konami Code. Hashimoto put it in the game as an aid for his playtesting, memorably saying that he “obviously couldn’t beat it.” For unclear reasons, the Konami Code was left in the shipped game, and was later used to playtest other games made by the publisher.
Contra, which launched on the NES in 1988, sold much better than Gradius and is more closely associated with the Konami Code’s origins. In it, cheat-code sharers discovered video gaming’s Charm of Making — up, up, down, down, left, right, left, right, B, A, start! — and were blessed with 30 lives, absolutely critical to a super-tough one-hit-kill side-scroller like Contra.
Nostalgia for the Konami Code, if not gratitude for its usefulness to many difficult games of the day, led to its inclusion in numerous other works. A Wikipedia entry on the code counts more than 100 Konami games with the cheat or some version of it inside them. Another 22 games made by other publishers included the code as a tribute, often revealing an Easter egg or secret message.
Kazuhisa Hashimoto was born Nov. 15, 1958. In a 2003 interview translated at the end of 2011, he said he joined Konami in the early 1980s, making circuit boards for coin-operated roulette and slot machine games.
The company’s early successes with coin-operated video games led to an expansion in that area. One of his first works was 1983’s Track & Field, a landmark sports video game whose popularity in the U.S. rode a wave of interest following the 1984 Olympic Games in Los Angeles. Hashimoto stashed Easter eggs in that game, too, such as the UFO that is speared by a javelin if the player deliberately aims it off the top of the screen.
Hashimoto was soon assigned to port these arcade titles to the NES, in a process in which a team of four people took about six months to complete the work. He chose the inputs for the Konami Code because they were easy to remember and yet hard to repeat by accident during normal gameplay. Hashimoto added that he was influenced by the hidden commands in 1983’s Xevious, by Atari, when creating the code.
Hashimoto left Konami sometime after the turn of the century. “Even though I’ve gone on to participate in most systems’ launch titles, from Gradius 3 on the Super Nintendo, and Parodius on the PC, to games for the PS2,” he said, “I think I like the Nintendo era the best of all.”