Awesome: “Far Cry 3: Blood Dragon” Is An 80’s Neon Action Movie

Just look at all the purple.

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After copious “leaks” over the past few weeks, Ubisoft has officially unveiled *Far Cry 3: Blood Dragon* via an article on [Eurogamer](http://www.eurogamer.net/articles/2013-04-11-far-cry-3-blood-dragon-has-cybersharks-and-mutant-cassowarys)…and it looks insanely wonderful. A stand-alone downloadable title for PS3, Xbox 360 and PC, it takes the bones of *Far Cry 3* and wraps it in 80’s day-glo action cliches:

In fact everything from Far Cry 3’s been given a lurid twist in Blood Dragon, and the results are often brilliant. Take to the waters, for example, and there’s a new threat waiting. “They’re called cybersharks,” explains Evans. “They don’t have any new attacks, but they do have a chrome shader with neon teeth and eyes. Just wait until you see one coming up with glowing orange teeth and eyes. We’ve got cyberpanthers – it’s fun taking the existing creatures and giving them a whole new look.”

 

*Cyber. Panthers.*

Also:

…a linear tutorial that introduces Rex Colt, the overpowered lead voiced by Michael Biehn.

 

Sign me up. *Far Cry 3: Blood Dragon* will be released soon, but in the meantime, head over to Eurogamer and relish in the purple.

[Eurogamer](http://www.eurogamer.net/articles/2013-04-11-far-cry-3-blood-dragon-has-cybersharks-and-mutant-cassowarys)

Ten Reasons You Should Buy Tomb Raider

lara_croft_tomb_raider_2013

Publishers Square Enix [recently stated](http://www.eurogamer.net/articles/2013-03-26-tomb-raider-has-sold-3-4-million-copies-failed-to-hit-expectations) that the new *Tomb Raider* reboot was a sales disappointment as it had “only” sold 3.4 *million* physical copies in *one month*. Not counting any sales on Steam or PSN in this age of digital distribution, it still sold *3.4 million copies*. It’s a good job that report didn’t come out on this April Fool’s Day, as it would have perfectly fit the day’s tone of ridiculousness.

So, at the risk that Crystal Dynamics might not get a chance to make a sequel, here’s ten reasons why you should stop what you’re doing and go and buy this game right now:

 

1) It’s beautiful

Seriously. From the flock of seagulls flying over a moonlit shipwreck, to the snowy top of a mountain research base, it will frequently take your breath away. Character design is delicious and the signature sweeping vistas are scenic masterpieces.

 

2) You’re not playing as Angelina Jolie

Lara Croft became a bloated, bulletproof pair of boobs in tiny shorts. This Lara, brought to life by Rhianna Pratchett in word and Camilla Luddington in voice, is vulnerable, tenacious and compelling. The player grows with her and fights with her, watching as the innocent girl becomes chiselled into the character we know, until she changes into the very thing that her enemies fear. It’s a visible, emotive transformation that has you shouting threats along with her.

 

3) It channels the best of *Dead Space*

The first one, that is. Not only are there some great moments of feeling utterly trapped and surrounded by vicious killers, but the soundtrack also heightens the tension with the same discordant creeping strings that worked so well in *Dead Space*. A great game for headphones.

 

4) The writing and story are great

A captivating story that combines ancient mystery with the extreme survival of wreck survivors, there’s a constant compelling push to the finish. Lara’s lines are touchingly natural, giving real weight behind her struggles to comprehend the violence around her.

 

5) The bow will become your best friend

There are guns and grenades and all kinds of murder tools, and yet you’ll always feel compelled to resort back to such a silent, deadly weapon. Stalking multiple enemies through a forest, bow in hand, is a visceral pleasure.

 

6) It outdoes *Uncharted*

*Uncharted* borrowed from *Tomb Raider*, and this reboot returns the favour, except the levels are wider, the combat better, the thrills more urgent. *Uncharted 2* may still be perfect in regards of set pieces and supporting characters, but Lara has the more interesting game.

 

7) It feels like a next-gen game

The detail is amazing. Not just in the fidelity of the graphics, but the level of animation is jaw-dropping. Lara will run her hand along walls, stumble over rocks, and scamper up disintegrating stairs. Enemies react brutally and die horribly, all while the game engine stays as solid as a rock. This would all justify the expenditure on a next-gen console, and yet we’ve got it for (apparently) outdated hardware.

 

8) The soundtrack is awesome

Maybe not as a stand-alone collection of music, but in context Jason Graves’ soundtrack provides the perfect mix of tender piano themes and grating metal clanks. The music is intrinsically linked to the action, beautifully scoring your journey.

 

9) It does being-trapped-on-a-mysterious-island better than *Lost*

…and *Far Cry 3*, for that matter. It may not *truly* be open-world, but the linearity is masked in wide levels with tons of secrets to discover. Tombs are tucked away, a mixture of old architecture and more recent research chambers. More tombs, larger and more complicated, would have been welcome. The island itself plays a starring role in the proceedings, its secrets gradually becoming painfully clear right up to the end.

 

10) There may still be too much combat, but it feels *great*

It’s definitely a requirement of modern gaming, and *Tomb Raider* games have always had a problem with combat-heavy sections, but it’s never felt this good. The guns are weighty and effective, the melee combat desperate and vicious, but its the bow that’s the star of the show. Lara’s ability with firearms increases with her confidence, echoing the narrative development of the character. A useful dodge/counter attack also underlines how her agility is her main weapon.

 

I finished *Tomb Raider* tonight and am still reeling from the final act’s power and intensity. Easily one of the best third-person action adventure games of this – or any – generation, not having a sequel because of poor business management on Square Enix’s part would be a terrible shame. Here’s hoping common sense wins over the unrealistic numbers and the amazing team at Crystal Dynamics has the opportunity to tell us another chapter in young Lara’s story.

Review: 21 And Over

The problem with comedy is that it depends on so many subtle factors. Each of the vital elements – script, cast, direction, editing – must be both strong in itself and also interconnected with each other. When it works, it’s a beautiful thing that lifts the spirits and throws smiles around freely. When it doesn’t, when each element fails individually and disrupts the whole, you’re left with a bitty, unstructured mess that leaves an extremely sour aftertaste. Unfortunately, *21 And Over* is one of the sourest comedies I’ve seen.

The premise is one you’ll be familiar with if you’ve ever seen any film starring a group of college kids that include an achiever, a sweary idiot and a introvert with a big day approaching. Miller, Casey and Jeff Chang (who is always referred to in full) are three high school best friends who have found College has pulled them apart in more ways than just geography. On the day of Jeff Chang’s 21st birthday – an important date in America that finally releases alcohol from the shackles of secrecy and fake IDs – Miller and Casey arrive at their old friend’s residence to treat him to birthday hijinx. However, Jeff Chang has a lifechanging interview for Medical School set up by Harsh Asian Father, and refuses to go out so as to be fresh and ready by 7am. Of course, his resolve disappears and extreme drunkenness soon leads to a race against the clock to get Jeff Chang home in time, incorporating spanking, punching and nudity along the way. Basically, it’s *The Hangover – The Early Years*.

Which would be fine, if the constituent parts amounted to anything. There are no new stories, it’s true, but the way in which stories are *told* has the ability to excite through creative choices. This narrative electricity is wholly absent in *21 And Over*.

One of the main issues is that the three main protagonists don’t have any kind of connection on screen. Compared to something like *Superbad*, their relationship never feels genuine, or that it stretches past the words on the page. Maybe it’s the casting, maybe it’s the heavy-handed direction and script; something seems to be holding the actors back, even though they’ve each proven very capable in their other films. Having the heart of the movie so unbelievable makes their journey together barely interesting.

The narrative structure and scripting is equally frustrating. Full of convenient jumps and side-steps, the main characters often behave in a way that does not endear them to the audience but instead leaves us scratching our heads at the way it unfolds. Lines are predictable and practical rather than cheeky and inspired, while characterisation is a standard journey from A to B. Set-ups and scenarios are garish and unattractive, the movie happy to propagate the myth that US Colleges are mostly full of flashing girls and dickhead jocks. It’s very hard to connect with a story that constantly dissuades personal connection.

It’s technically a mess, too. Apart from the previously mentioned ineffective direction, at some points the editing and ADR is so bad that the flow of scenes completely breaks down. Full of dubbed lines over non-moving mouths and jarring drops in pace, it’s odd to imagine how it was not corrected before release.

It’s not a total disaster, though. One or two of the lines break a smile, and chief Douchebag, Randy, has a couple of male followers who are genuinely hilarious in their literal narrative of his every action. More of this kind of curveball humour would have added much to the blandness.

By the end, you find yourself frustrated at the lack of imagination in the turn of events. The conclusion, a seemingly perfect opportunity for Harsh Asian Father to redeem himself in the face of his suicidal son’s newfound honesty, simply ends with straightforward violence and parental rejection. However, this squandered opportunity just matches what has been happening for the previous ninety minutes, and so the viewer is just left with rolling eyes at the missed potential.

If you feel the need to watch this kind of against-the-clock College comedy, there are much better titles to choose from. In fact, just watch *Ferris Bueller’s Day Off* again, even if you’ve seen it before. I guarantee you’ll have a much better time, and anyway, you’ve seen everything *21 And Over* has to offer many times before in much better ways. Avoid.

 

Halo 4 Review: The Two Sides Of The Coin

I was once booked to play Charlie Chaplin in a commercial for a mechanic’s garage. (Context: I worked as a professional actor in Vancouver for two years before an incoming baby necessitated the need for regular income, i.e. not acting). It was a terrifying proposition. I knew that my years of training in physical theatre would come in useful for the signature walk, but Chaplin was always more than that. He had this very particular look in his eyes, one of innocence and reflection, which was so iconic it became placed front and centre in all of his posters. This was not a new character; this was someone who had a legion of fans from every age group and social demographic in the world. There was a good chance many *Chaplistas* would end up judging my facsimile, examining each and every gesture, comparing me not only to the real Chaplin but also to their emotional perception of him. So, I started where they already were: with every film and short I could find, slow motion frames on one side and my mirrored reflection on the other. In the end, I pulled it off; I often hate watching myself back – when is there ever anything that could not be improved? – but I was genuinely pleased at how authentic it looked. Of course, there’s someone, somewhere who rolled their eyes at some point, but that’s inevitable. It’s just the *amount* of eye rolling that you try to keep down.

With *Halo 4*, however, the tables are turned. This time, *I’m* the expert, the age-old fan who could talk you ragged about Master Chief’s armour, the effect of playing as The Arbiter, or the deep mythos that ties all the previous games together. Mostly, I’d want to talk about [*”I need a weapon”*](http://www.youtube.com/watch?v=aJ9RjKiqQV0), or leaping on a Hornet just as a Covenant vehicle explodes, or even how [*Halo 3: ODST*](https://awesomefriday.ca/2012/11/revisiting-halo-3-odst/) might be my favourite title in the series. I’m the one whose Xbox 360 game collection is propped up like this:

 

With series overlords Bungie finally walking away to line Activision’s pockets with the upcoming [*Destiny*](https://awesomefriday.ca/2013/02/awesome-bungie-unveils-destiny/), it was down to Microsoft to assemble the best team they could find and wring some more Spartan cash out of the Chief’s thick green armour. However, as obviously talented as 343 Industries is, they had an impossible task – please all the *Halo* fans, all the time. After all, this wasn’t a splinter title but a direct numbered continuation of the series that, for many people (myself included), was solely responsible for the buying of whole new consoles. We would be holding up 343’s *Halo* to our own rose-tinted memories. It’s clear that 343 knew this, and *Halo 4* directly references sequences from the older titles whilst introducing new features for the new trilogy. This approach leaves a paradoxical final game, one that can be two opposite things at once: exciting yet boring, precise yet sloppy, intense yet vague. It’s a schizophrenic campaign full of wows and what-ifs.

The ending of *Halo 3* left the perfect jump-off point for a new game, and this is utilised fully. The last time we saw Master Chief, he was placing himself in sleep stasis after finally defeating the Covenant and Flood and destroying the control bridge for all of the Halos in the universe. Left alone in the remains of a ruined spaceship, he drifts through space with just the AI, Cortana, watching over him. *Halo 4* uses this setup in its bombastic prologue, with the Chief rudely awakened not only by an invading Covenant force but also by the ominous scans from a nearby Promethean planet. Caught in its gravity, the Chief and Covenant forces are pulled to the ground and are soon joined by a human rescue team, before unwittingly activating the planet’s defence system in the form of New Enemy Types. Their leader, The Didact, is intent on getting a weapon to “catalogue” all humans, and Chief finds himself – apparently pre-ordained – to stop him. Cue beautiful vistas, a variety of weapons, and some moving targets to shoot in the face. Repeat for seven hours while attempting to make sense of the story.

The first thing you’ll notice – and will keep on noticing for the length of the entire game – is how stunning it all looks. Really, truly amazing, and further proof that next-gen consoles are going to have trouble to prove their existence if all they offer is shinier graphics. Everything has a tangible solidity, the world-building architecture is breathtaking, and incredible lighting makes it all feel so movie-like. It’s easily the most attractive game in the series, and going back to *Reach* feels like a leap backwards to a whole previous generation. The engine is largely flawless, the only occasional drops in frame rate (usually due to loading) are notable due to their rarity. Enemies flood the battlefields, on land and in the sky, finally giving series fans the kind of huge battles that we’d been dreaming of since the first title. The UNSC weapons carry incredible punch, the DMR and Magnum again proving an almost unstoppable combination in the right hands, and the few flying sequences are astounding in their scope and potential.

It’s tempting at this point to imagine *Halo 4* turning into a series classic, with the old thrills intact but with a shinier gloss. However, as the campaign unfolds, the cracks appear and sometimes threaten to swallow you whole. The problem isn’t the artistry of the development team – there can be no doubt that they are totally fine in that regard – but more so that, while the nods to “classic” *Halo* largely ring true, the new elements added just don’t have the same impact. In fact, they go a long way to ruining the whole damn thing.

The main problem, unfortunately, is that Bungie made the original Covenant enemies so damn good. From their chunky design to the flank-happy AI routines, it was always such a pleasure to crank up the difficulty and face off against the various types, each requiring brains to outmaneuver before hitting them where it hurts. The UNSC and Covenant guns were varied and powerful, each opening up gameplay options for every single firefight. 343’s new addition is the Prometheans, an enemy again split into three main enemy types, but it doesn’t take long into your first encounter with them that you realise something is wrong. Covenant Elites are aggressive and intelligent, rushing you directly with energy swords or flanking behind you before exploding out with destructive brutality, but the Promethean Knights just shoot and run. They frequently warp out of sight, with their only rush attach a quick warping zig-zig that often ends in unavoidable instant death. They have flying support, who also fly out of range after one shot, and not only provide shields but also *bring dead Knights back to life*. You can clear a path only to find it reset in seconds, all because you missed one enemy. So, they are designed to be a long-distance attack enemy, and that’s usually fine, but the troubles increase when you run out of ammo for the DMR and Magnum (which happens quickly). The only other weapon in any kind of abundance is the Promethean Suppressor, a rapid-fire gun that’s fairly effective close-up but borders on useless from any kind of range. The beauty of *Halo* has always lay in its invitation to approach battles as you see fit, but that is lost here. You’re forced to charge wildly into the fray, finger firmly down on the trigger in the hope that they’ll die before you do.

Die, already

The third new enemy type is a quadrupedal beast with a gun in its mouth, often arriving in numbers to chip away at your energy as the larger enemies once again warp out of view. It’s all a little reminiscent of The Flood at this point, with intelligent attacks substituted for overpowering rush, and it’s not a welcome addition. The negativity created by 343’s new elements doesn’t end there, but instead is exacerbated by all of the new weapons. Even without the disappointing fact that they are all basically reskins of each other’s – even though the human, Covenant and Promethean weapons were created aeons apart *for different bodies* – you can’t avoid the fact that they feel hopelessly weak and underpowered. This is made most glaring when you’re forced to change from the razor-sharp accuracy of the Magnum or Covenant Combine to the Boltshot or Storm Rifle. Suddenly you’re not the most advanced soldier in the universe but more of a Stormtrooper on his first day in the Death Star. It’s annoying, unneccessary, and completely breaks away any feeling of fun or enjoyment.

Unfortunately, this makes every level featuring the Prometheans one that is met with growing sighs and creative swears. However, as the campaign shifts into the second half, things get much, much better. There proves to be a very obvious reason for this sudden shift in quality; instead of forcing you through their new elements of the story, 343 focus on what made *Halo* the series it is – fighting alongside UNSC infantry, against Covenant Elites, under an azure sky. This really is *Halo* at it’s very best, the skeleton constructed by Bungie dressed in gorgeous new clothes. And explosions. So many explosions. As you move in a giant tank along a mountain path (which is uncannily reminiscent of the same sequence in *Gears Of War 2*), the old feelings come flooding back and motivation spikes. Enemies charge under and above you, tenacity winning over brutality every time. Things pick up even further as you head into the sky, first with Banshees, then to a Pelican, before a daring chase into a tunnel in a Broadsword, the ship that was flown briefly in *Halo: Reach*. Each of these levels are magical slices of escapism and thrilling to the end. In fact, the Broadsword level feel so much like the Warthog chase that closed *Halo 1* and *3*, it’s tremendously disappointing to find yourself back fighting the Prometheans on foot, once again having to destroy three of something before you can proceed.

However, the best is saved for last, with the Chief finally trying to secure the key weapon on an asteroid base above the third Halo ring. Of course, the Covenant want it too, leading to a busy set of combat arenas that don’t even try to pretend that they’re not reflections of earlier levels from the series. It’s a final move that, although successful, really brings the faults of the rest of the game into sharp, glaring focus.

Perhaps the most surprising element is how successful 343 Industries is with their telling of the story. Not in the complicated sci-fi premises it throws about (mainly in an exposition flashback that is truly bewildering), or in their inevitable decision to appeal to the *Call Of Duty* crowd with thankfully sparse Quick Time Events, but more in the focus on the Chief and Cortana as real, connected entities who may actually share something approaching love. It’s a very brave move, considering the established fanbase that they’re targeting, but their aims are achieved with surprising sensitivity and subtlety. Cortana, in particular, has been realised beautifully, her exemplarity facial animation revealing the desperation in her lost cause. The final endgame causes a separation that is genuinely moving, although this being sci-fi, you know perfectly well that no-one disappears for ever. I hope not anyway; Cortana is the key to the Chief becoming more expressive, and it would be a crying shame to not see that unfold even more.

So, in the end, you are left with a mixture of elation from the classic levels with the sourness of your experience with the Prometheans. It’s a shame that, in their bid to introduce new elements to the series, 343 Industries just shows how delicate the balance can be. What *Halo 4* is, though, is a tantilising glimpse into what this amazingly talented collection of artists and coders can do to recreate the old magic, and it’s tempting to pin hopes on having even more of the good stuff in the next-gen *Halo 5*. Maybe, then, our own eye-rolling can be reduced to a minimum as we fight with the Chief, always pushing forward, back among the stars.

*Note: This is a review purely of the campaign, but the game itself has a variety of extra one-off missions (Spartan Ops) and, of course, the ever robust multiplayer. However, as I don’t play any kind on online MP, I can’t really comment on it.*

 

Halo 4: From Beginning To End

As you may or may not know, I am a teacher and father of a two-year-old boy. This means that I spend the whole day essentially as other people’s property – either teaching the structure of a language contorted by the Normans, Celts, Vikings and Shakespeare, or running around saying things like “DON’T eat the jigsaw” or the classic “PLEASE STOP HITTING THE DOG WITH THE KIWI” (true story). As a result, my decades old gaming habit (addiction?) has taken a real battering. I realised that when I fell asleep, exhausted, in the middle of an intense virtual firefight, thumb still pushing my avatar into a wall as dreams took hold, my traditional gaming window had ceased to be viable.

This has lead to my backlog of unfinished titles growing to huge proportions, even necessitating the creation of an Evernote list just to keep on top of it. However, sometimes the Universe synchronises and I get the rarest of rare opportunities – a day off, in my apartment, with my son elsewhere and no work to be done. These cannot be squandered. So, today, I’m treating myself. The reading chair has been moved and has temporarily become the gaming chair, and in front of me I have *Halo 4* installing on my Xbox 360. I’m going to play the whole damn thing, from beginning to end, and update this article as I go.

I think this might be the last hurrah for the old 360. I started transitioning over to the PS3 early last year when my Live account ran out and I’ve barely used it in the last six months. I think later this week it’ll go on Craigslist while it’s got any kind of value before its successor emerges in April. How fitting, then, that *Halo 4* will be its swansong. I bought my first Xbox to play *Halo* and my first 360 for *Halo 3*, so this would be a fine send-off. I hope. The *Halo* fanboy in me is a little apprehensive, but there’s only one way to find out.

Here. We. Go!

9:43am – After the frustration of Heroic at Matt’s house, this is the first game I’m choosing to play on Normal. Hope it’s not too easy.

9:48am – Certainly is very shiny.

9:52am – Chief OF Duty. FFS. QTEs have *no* place in *Halo*.

10:10am – Nice prologue, but I hope Cortana doesn’t spend the next five hours telling me *exactly* what I need to do at all times. Tearing through Covenant with the BR and Magnum never gets old, though.

10:21am – “The whole ship was destroyed in the crash, but these Warthogs…they’re fine”.

10.35am – Either the Magnum is (still) ridiculously overpowered or the Covenant weapons feel incredibly weak. Either way, being forced to use a Storm Rifle is draining my fun and motivation already, which probably doesn’t bode well…

10:42am – The Forerunner architecture is beautiful, though. All tall and *Tron*-shiny. Becoming much more attracted to games with nice architecture, makes a big difference.

10:50am – To be fair, if I were to design an AI avatar, I’d probably make it a shapely brunette in a sparkly spandex suit, too.

10:54am – Feels like an attempt at a Best Of up to now. Crashing onto alien land, hunting Elites through lush green hills, Warthog sliding, bridge cross…check, check, check.

11:02am – And then there was the time where an Elite hijacked my Banshee then flew it straight into a wall and didn’t move. Then another one followed suit. Definitely finding some differences with the enemy AI compared to the flawless previous games’ performance.

11:08am – I’ve always been a lover of the solid AA games, and quite miss how they’re not really made any more, but it’s always nice to see the result of when an AAA game has *all* the money thrown at it. Some great artists at 343 Industries, that’s for sure. I just hope the story matches the artistic beauty. As someone who’s deeply involved in writing and language, a well-told story is what elevates anything to greatness.

 

11:13am – So when an Elite bursts out and charges you, and he’s got an energy sword so it’s a guaranteed one-hit kill, and the weapon you’ve got is too weak to damage him, and there’s no way you could have survived so next time you just spam grenades where you know he’ll emerge – I’m not sure that qualifies as good game design. Hmm.

11:22am – It’s *so* pretty. Amazing that they were able to squeeze graphics like this out of such old hardware. Oh good, Cortana’s pressed some buttons and now all hell’s broken loose.

11:32am – As much as I love the dismantling reload animation of the Promethian weapons, they feel as punchy as a handful of wet spaghetti. Magnum back, please. Also, Matt, you’re totally right – all the species’ weapons are basically reskins of each other’s. Most disappointing fact, so far. Love the feel of imaginative weapons in something like, say, the criminally underrated *Bulletstorm*.

11:35am – Croissants and hazlenut Nutella time. Also plan on drinking so much tea that I start sweating caffeine. Brb.

11:46am – I would like to thank (blame?) my Swiss students for getting me on to Nutella. They eat it with butter, just to make sure that it’s not healthy in the slightest. So, sugared up, tea made, time for more!

11:55am – How to infuriate me in two easy stages: STEP 1) Design enemy AI that make targets run away and attack from long range; STEP 2) Force me to use the only weapon in any abundance, the Supressor, even though it’s *completely* useless at long range with near zero accuracy.

12:01pm – Oh good, and the Scattershot’s useless too. How wonderful.

12:16pm – Hey Matt, remember when we first played this on co-op and we got stuck on the bit where we had to destroy the power to the pylon and put the draining of fun down to the difficulty level? Nope.

12:25pm – Oh, good. Instead of changing difficulty level – because there is no fun in cheap death and weak weapons – I restarted the whole. Damn. Pylon. Mission. Remember that time I was going to play the latest instalment of one of my all-time favourite gaming franchises in one go?

Wait!

It remembers our previous co-op progress, so I can jump in to the next level! I’ll miss the unveiling of the Big Bad, but apparently I’ve seen that already. Obviously left a big impression.

12:31pm – O! D! S! T!

12:34pm – It’s uncanny how much the Mammoth rolling along the cliff edge echos the exact same tank sequence in the one of the *Gears Of War* games.

12:44pm – OK, finally. *Gorgeous* engine, fighting Covenant with a squad of Spartans and ODSTs, original weapons. Bungie’s *Halo* at its very best. Really underlines how weak an enemy the Promethians are, though. And I never want to have to use their weapons ever again, thanks.

 

12:50pm – Oh good, three more power sources I have to shut down. How very original.

12:51pm – Aaaand a Warthog just killed me by driving straight over me as I was lining up a shot. Obviously Master Chief isn’t *that* vital to the war effort. This is the exact same spot where I gave up on the campaign in co-op – let’s see if I make it through this time.

1:03pm – Now I’m fighting my way to the grav lift into a Covenant ship in the *exact* manner it happens in *Halo 3*…

1:12pm – “We literally *think* ourselves to death”. Literally, Cortana? Literally?

“I promise…I WILL NEVER DIE”

1:22pm – Always been a fan of sniping, but nothing breaks the immersion more than being given ten seconds to “RETURN TO THE BATTLEFIELD” if I dare to strafe an inch out of range. Still, this section is the first to feel like classic *Halo*, even if I did have to drop the difficulty down to Easy just to squeeze any fun out. I really think 343 messed up the difficulty levels, they don’t match the other games in the series at all.

1:34pm – I’m working on the theory that pizza makes everything better, if when it’s burnt to a crisp. Speed Bake indeed.

1:36pm – Brilliant game design #44: After going up a ramp, enemies rush you, and *directly* behind you is an insta-kill drop. GOOD WORK EVERYONE.

1:42pm – Aah, the Promethians are back. Pizza, why must you fail me now?

1:52pm – Just not a patch on the Covenant. Nowhere close. Inside somewhere now that looks *a lot* like *Halo*’s Library, and we all know how *that* turned out. (Spoiler: Not well)

1:58pm – Took ages for the light bridge to come out so I could try and find Cortana, was wondering up and down that walkway for ages. Bug? Maybe.

2:05pm – So the (albiet extremely impressive) CG exposition sequence has left me more confused than ever about the story. Master Chief is the result of the genetic seeds placed in humanity by an librarian who hid a weapon – The Composer duh duh DUUUHH – away from the Big Bad after humanity tried to kill everyone and everything. Right. What? Now Chief’s evolution has ben “accelerated” so I guess I’ve got laser eyes or something now.

2:14pm – Well, picked up Cortana, still no idea what’s going on, found a portal (very convenient, these portals) and now I’m suddenly back here. So I guess I’ll keep shooting things until something changes.

2:19pm – You know, *Halo 4*, the more you put me back in a UNSC squad, taking out Covenant in a Scorpion tank, the more I just want you to be *ODST 2*.

2:24pm – Yeah, good luck arresting Master Chief. Go for it.

2:26pm – True love.

 

2:32pm – And now I want a whole game flying a Pelican. Shivers!

2:36pm – BOOM

 

2:39pm – My ride. Seriously, 343, make this happen. An *X-Wing/Tie Fighter* style game set in the Halo universe? Day one.

 

2:48pm – And another callback to *Halo 3* with the defence of a slow-moving space gondola.

2:59pm – The perfect mid-weapon-change Pelican money shot.

 

3:04pm – Haha, as soon as Cortana said that we had to destroy some power attenuators, I knew there’d be three. Bingo!

3:05pm – Ladies and gentlemen, may I present to you the very worst of *Halo 4* – trapped in a metallic Forerunner structure, surrounded by the Annoying Dog Promethians, The Insect Bastard Promethians and the Flying Arsehole Promethians, having to destroy three of something before I can proceed. Sigh.

3:15pm – So I did the three things by jetpacking all over the place like a crazy person, just scraped through, heart pounding, then died on way to door objective and it put me back before the three things. FFS.

3:31pm. Yeah, take *that* three arbitrary things that need to be destroyed. Back to the Pelican.

3:34pm – Um…my Pelican keeps randomly blowing up on the way to the next waypoint. Maybe it’s a comment on the fragility and reality of the universe. Or maybe it’s a bug.

3:36pm – Uh, OK, it was an invisible ceiling. My mistake for thinking that I was piloting a spaceship that could fly upwards.

3:43pm – Wading through Covenant again, trying to get to the control terminal for the defence spires. Must be close to the end by now.

3:45pm – Big, wide open space and a Banshee. Recipe for Halo success!

3:50pm – Endgame.

 

3:53pm – Or not, as it seems. Last push to grab an artifact, which is actually The Composer, from the space base above…THE THIRD HALO RING DUH DUH DUUUUH! (Totally did not see that coming at all)

4:02pm – Oh man. Fighting Covenant in a space base alongside UNSC infantry and human scientists. If only the whole game had been like this.

4:13pm – The dog needs a wee, and my son will be here in 30 mins. Looks like this will need to be continued. Hope you enjoyed this with me, a few of the later levels were bordering on classic Halo. Hopefully will polish this off later, so keep your eyes peeled!

8:32pm – *Halo 4* playthrough part 2 is GO GO GO!

8:37pm – There’s no question about it, 343 are definitely referencing highlights in the series so far. Just making my way through a dark service tunnel, just like in the first *Halo*. Is this a good thing? It’s certainly very nice to see it so very shiny, and it does help to reignite those old *Halo* feelings.

8:49pm – Lots and lots and lots of dead Covs. Honestly, they could have made a ten hour game out of this and I would have been ecstatic.

 

8:59pm – Whoa! *Halo* Mech! Wait. *Halo* Mech???

 

9:05pm – To be fair, the Mech is exceedingly good at making Banshee rain. Impressive number of enemies in the fight without even a hint of slowdown, kind of what fans have been wanting in a *Halo* game for a long time.

9:09pm – Another stuck Banshee up against a wall. Maybe it’s a new trend.

9:14pm – Some nice *Raiders Of The Lost Ark* face-melting there! Didn’t *quite* manage to rescue those scientists. Sorry, scientists.

9:16pm – Aww. The interaction between Cotana and the Chief is actually quite touching. Her facial expressions are very subtle. Genuinely impressive. Now, back into space, after the Diadact!

9:18pm – So now it’s the run into the second Death Star from *Jedi* that’s the inspiration. Heading headlong into the Diadact’s ship in a Broadsword, the same space ship that was playable in *Halo Reach*. Still looking absolutely lovely, and I get the feeling this might be *Halo 4*’s version of the final Warthog chase.

 

9:24pm – I’m a sucker for a great spaceship-flying-into-something-big sequence (you can blame *Star Wars* for that), so this is doing *all* the right things for me at the moment.

9:39pm – Back inside, on foot, fighting the Promethians again. Would have quite liked the spaceship part as the finale, I think.

9:47pm – Gravity. Hammer. I’ve missed you, old friend.

9:53pm – The big weapon being powered up by the Big Bad, a closed door, and a selection of weapons. Last part, then.

10:19pm – Really really really the end now. The *Call Of Duty* crawl rears its ugly head again, unfortunately. At least the QTEs turned out to be just bookends.

10:27pm – Game over.

 

So, thirteen hours, three dog walks, one trip to playgym, two meals and four trips to the bathroom later, *Halo 4* is finished. Thanks for sticking with me and I hope you found my trip back into the *Halo* universe as much fun as wading through a crowd of Covenant in a Banshee. Tomorrow I’ll post my review and final collected thoughts on the whole thing, after a trip to Wikipedia to work out what was actually going on. Good night!

Something For The Weekend? Ten Essential iPhone Games

As Sony and Nintendo have found to their concern, mobile gaming has completely changed. Gone are the days where you needed a Game Boy, case, stack of tiny cartridges and pack of spare batteries – nowadays, our phones enable us to have a wealth of gaming experiences conveniently nestled in our pockets. With increasingly impressive hardware, the games being produced sometimes rival those of even the home consoles. However, there’s been some serious teething problems in this transition. Modern games, with their multiple inputs and tactile buttons, have struggled to find a home on a touchscreen. Simply put, virtual joypads and floating keys can never, ever give the same kind of feedback and control offered by a traditional joypad.

But, as with all maturing technology, games have started being designed not to just cope with the hardware, but to actually take advantage of it. The last two years have produced a number of games that truly show how relevant the iPhone is as a gaming device. So, in case you have a few hours to kill this weekend, here is my selection of ten absolutely essential iPhone games.

And yes, I’m aware of the existence of Androids and Blackberries and Windows Phones, but I don’t use them, so…there.

 

*Super Hexagon*

Let’s begin with the best. There’s probably not much more I could say about Terry Cavanagh’s psychedelic spinning puzzle game that [I haven’t said already](https://awesomefriday.ca/2012/12/simons-best-of-2012/), yet I still don’t feel that I’ve captured in words exactly how playing it makes me feel. Even now, I’ll become totally engrossed and be transported to some very Zen areas of my consciousness, yet stopping playing snaps the truth away like waking from a vivid dream. I’ll just summerise by insisting that my favourite game of 2012 – and maybe even all time – is a vital purchase that totally validates a tiny touchscreen device as a hardcore gaming platform. Buy it, now.

[*Super Hexagon*, $2.99]( https://itunes.apple.com/ca/app/super-hexagon/id549027629?mt=8)

 

*Solipskier*

The philosophical idea that we create the world around us – solipsism – is a great basis for a video game. *Solipskier*, by Mikengreg, places your tiny skier on an endless 2D chase and your job is to create the ground by dragging your finger up and down as the snow scrolls out behind you. Speed increases and jumps are all down to dips and curves, while removing your finger completely sends your avatar into points-friendly tricks and spins. It’s all incredibly compelling, thanks in no part to the amazing metal soundtrack that mournfully turns into Chopin when you eventually crash out. Add some beautiful use of colour to the streamlined design and you’ve got a winning timekiller.

[*Solipskier*, $0.99](https://itunes.apple.com/au/app/solipskier/id383281764?mt=8)

 

*ZooKeeper DX/ZooKeeper Battle*

One of the all-time great match-three puzzle games and the only one to ever challenge Nintendo’s classic *Tetris Attack/Puzzle League*. What makes *ZooKeeper* so special is the gorgeous design of the animals – whose blocky faces get grumpy when you don’t match enough of them – and the amazing sound effects, full of perfectly guaged blips and buzzes. The DS version was good enough, but the move to a capacative touchscreen makes the action even more intense. You’ve got two flavours to choose from – the original DX, and the multiplayer-focused Battle. However, be aware that the latter version suffers from in-app-purchase cooldown, so the former is better for extended play. Either way, it’s a gem of a game that, at some point, will make you shout “Monkey? Monkey? MONKEY!”

[*ZooKeeper DX*, $0.99](https://itunes.apple.com/en/app/zookeeper-dx/id433596395?mt=8), [*ZooKeeper Battle*, Free](https://itunes.apple.com/us/app/zookeeper-battle/id548270497?mt=8)

 

*Drop7*

True story – *Drop7* started life as a flash tie-in to the crime-solving TV show *Numbers*. As a result, maths is at the very heart of this game, but it also somehow manages to be both approachable and utterly, life-destroyingly compulsive. Easily the most addictive game on this list, *Drop 7*’s masterstroke is that there is no arbrotary time limit forcing quick decisions. Your balls drop (f’nar), each numbered 1-7, and you need to decide where they fall. Once the number in the line equals the number on a ball, it disappears, and it’s Game Over if they reach the top. Easy to understand, so very complex to master. This is basically the iPhone’s *Tetris* – or maybe even better – and is absolutely essential.

[*Drop7*, $2.99](https://itunes.apple.com/en/app/drop7-by-zynga/id425245634?mt=8)

 

*ZiGGURAT*

The modern gaming obsession with shooting has tried to make the transition to the iPhone with very limited success. Virtual joypads and buttons have done their best, but it’s proven impossible to create any kind of precise aiming or movement. The developers of *ZiGGURAT* took a different approach, removing all but the central idea of staying alive. Your Contra-like soldier stands firmly on Mankind’s final mountain, shooting at the invading alien robots who have already wiped everyone else out. As you swipe your finger across the bottom of the screen, his weapon powers up and rotates through 180 degrees, with the bullet released when you lift your finger is charged by holding down longer. There is a real inevitability to your death, but this just makes you fight even harder. A great example of simple arcade joys recreated by a swiping touch.

[*ZiGGURAT*, $0.99](http://itunes.apple.com/app/ziggurat/id498448797?mt=8)

 

*Canabalt/Jetpack Joyride*

Bit of a cheat here, but it’s difficult to talk about any Endless Runner without mentioning the one that arguably started it all. *Canabalt* is the perfect example of how design can take a single touch and wrap it into an exciting noir sci-fi epic, as compelling as many AAA console equivilents. Run, tap to jump, and try to last as long – and as far – as possible.

*Jetpack Joyride* is an evolution of this idea, adding unlockable weapons and tempting in-app-purchases with a crazy cartoon story of escape and revenge. Unfortunately, this new genre has also given rise to the Free-To-Play, money grabbing approach as much loved by big label publishers as it is hated by older gamers. So, as the clones roll out, direct your money to these two games that actually deserve it.

[*Canabalt*, $2.99](https://itunes.apple.com/ca/app/canabalt/id333180061?mt=8)

[*Jetpack Joyride*, Free](https://itunes.apple.com/ca/app/jetpack-joyride/id457446957?mt=8)

 

*Tiny Wings*

Gorgeous and dream-like, *Tiny Wings* gives you a cute flightless bird and enables you to help him soar. As the colourful hills and valleys roll by, you guide your bird with one simple press – hold to dive, release to speed up and off the edge of the land into the azure sky. Even the Game Over state is just bedtime for the bird, further adding to the cuteness. Expanded for free since launch with new modes and stages, *Tiny Wings*  was one of the first examples of perfect design for the touchscreen. Go fly.

[*Tiny Wings*, $0.99](https://itunes.apple.com/ca/app/tiny-wings/id417817520?mt=8)

 

*Letterpress*

There are a great many excellent word-based iOS games to choose from, from *Words With Friends* to the scrumptious *Spelltower*, but in the end *Letterpress* wins due to its secret weapon – it’s actually a ruthless emulation of aggressive landgrab. Two players have an identical grid of letters that can be chosen to create words of any length, the letters of which change hue to the player’s colour. Points can be gained from unclaimed letters, whereas coloured tiles can be used but yield no reward, leading to a tense game of cat-and-mouse as each player tries to secure more land. It’s vicious, exciting, and brings out the fascist dictator in all of us. Glorious.

[*Letterpress*, Free](https://itunes.apple.com/ca/app/letterpress-word-game/id526619424?mt=8)

 

*Plague Inc*

Who’d have known that a simple world map with some spreading red dots could be so engrossing? *Plague Inc* tasks you with the job of creating a bacteria/virus/brain worm, deciding where it will start, then manipulating it enough to spead it to seven billion people. And, once infected, adding disasterous symptoms to kill *everyone*. Although the idea of a game’s win state being the annaliation of mankind is a little disconcerting at first, you soon find yourself rooting for your little band of bugs and looming over preceedings like a Bond villian in his volcanic lair. Failure (*ooh, you only killed FIFTY MILLION PEOPLE*) leads to reorganisation of strategy and each game allows you to nudge closer to your deadly conclusion. A slow-burning strategy masterpiece.

[*Plague Inc*, $0.99](https://itunes.apple.com/ca/app/plague-inc./id525818839?mt=8)

 

*Ridiculous Fishing*

Well, there’s no confusion with this title. Tap once to drop your line, tilt to avoid fish on the way down, then tilt to catch as many as you can on the way up, before flinging them into the air and shooting them dead with a flurry of finger presses. Each game lasts about thirty seconds and awards you in-game money to spend on unlockable upgrades. You cannot pay real money, only earn it by *playing the game*. Remember how that works? Made jointly by the creators of *Super Crate Box* and *Spelltower*, the design shows a wealth of expertise and appreciation for how the iPhone is best used, including tilt controls that are *perfect*. Cool, stylish and utterly deranged, *Ridiculous Fishing* is an instant iPhone classic.

[*Ridiculous Fishing*, $2.99](https://itunes.apple.com/us/app/ridiculous-fishing-tale-redemption/id601831815?mt=8)

 

Hope you enjoy these as much as I do. Total cost of all these games listed – $16.91. We live in the future. Have a great weekend!

 

Tomb Raider: Sweet Desperation

The young one

The internet, for all its splendour and doorways to the world, has completely ruined the art of keeping a secret. Long gone are the times where you would buy a game based purely on how you felt about the series or how many demons were being depicted midway through the beheading process on the cover art. Every single exciting title – from one dollar to sixty – is mercilessly dragged through the preview PR procedure, feature bulletpoints carefully managed for maximum digestibility, until the actual game is almost an afterthought. It’s a double-edged sword, but with both edges cleanly slicing away your satisfaction – either the game cannot live up to your expectations, or it is clearly painted as something you’d never, ever play. *Halo 4* was a recent victim of this. Speaking as someone who lapped up *Halo* 1-3 and [adored *ODST*](https://awesomefriday.ca/2012/11/revisiting-halo-3-odst/), *Halo 4* made a dull hollow thud, even after the preceding cacophony of exciting previews, web episodes and…Mountain Dew cross-promotions. The dire *Aliens: Colonial Marines* even showed how preview gameplay sections can be a total fabrication. More tellingly, the main reaction to the release of *Temple Run 2* a few weeks ago wasn’t anything to do with the gameplay, but more about the fact that it had been released with zero warning or fanfare, a singular reminder of what it felt like to find a new Spectrum cassette on the shelves. The internet is the antithesis of surprise.

However, very rarely, there is an exception. Sometimes the collected previews can put you off *so* much that the review of the finished game is something to be savoured, our inner schadenfreude preparing to feast on the low number at the end as justification of our pessimism. Then, when all the reviews in fact paint a different picture, the most wonderful thing happens:

You realise you were wrong.

*Tomb Raider*’s path from all-conquering Playstation icon to industry joke has been as rocky and treacherous as any of Ms. Croft’s signature tombs. Toby Gard’s original vision of a cocky, adventurous Indiana Jones analogue – female purely as a sales strategy – became as outlandish as the breasts that came to symbolise her. The tingling pleasure of being lost with only your wits to help you through ancient puzzles – punctuated by fighting the odd leopard or, you know, T-Rex – was soon lost as each sequel shifted more towards combat against entirely average evil European henchmen. Core’s final series entry, 2003’s *Angel Of Darkness*, was an entirely unsuccessful attempt to drag Lara into a more serious, darker focus amidst a broken game of shifting abilities and forced combat. Lara’s popularity took a downward dive onto rocks, leaving a screaming, crumpled mess at the bottom.

A few years later, design duties having been ripped unceremoniously from Core’s hands, the responsibility to push Lara back into the limelight was passed to Crystal Dynamics. Their reboot, 2006’s *Legend*, is actually one of my favourites in the series. There was still entirely too much combat, but the joyous feelings of emerging at the top of a forest waterfall, or pushing the final piece of a gigantic spacial puzzle into place, had been placed back where they belonged. It was met with good reviews, as was the cleaned-up version of the first *Tomb Raider*, *Anniversary*. Unfortunately, 2008’s *Underworld* was less successful. CD fell into the same trap that had ensnared Core towards the end, which was to add unnecessary darkness in a bid for greater realism. I enjoyed *Underworld* to a point, even if the puzzles at the end went on too long, but it all felt so gritty and joyless. It finally seemed like there was no way to make a *Tomb Raider* game that could still capture that old adventuring spirit whilst ticking the boxes for what the men in ties decided the gaming public wanted. *Uncharted* filled the gap for linear Indiana Jones emulation, and Lara, once again, shifted backwards into irrelevance.

Uh-oh

And that’s where she lay until publishers Squire Enix decided that there was still money in the banana stand. What do you do with a once-classic figure who had drifted far from her glory days? Reboot. Again. The collective sigh could be heard from all quarters of the internet, not just because of the decision’s inevitability, but also from those that remembered the good old days and knew that poor Lara was being lined up for another critical mauling. First reports didn’t help matters – young Lara, innocent and vulnerable, stuck on an island with evil all around. It all felt like a marketing exercise based on teenage fantasy surveys. There seemed to be increased focus on the two sides of the franchise that were not required – more darkness, more combat. Gameplay scenes showing cover-based shooting. Lara bound and hanging upside-down in a torture cave, screaming and yelling and groaning with every cut, bruise and fall. A furor when one dev mentioned we would have to save her from “rape”. Lara, in the process of being re-re-invented, seemed to be something that could no longer be connected with the words “tomb” and “raider”. It seemed to be a steady, unstoppable slide down to review disaster.

However, there was a twist in the tale. The reviews emerged, over a week before release (an oddity in these days of tight embargoes), and they were all largely glowing. In fact, they seemed to unanimously agree that, past the first third, it was something very special indeed. Their evidence all pointed towards the same vital aspect – the return of desperation. This, for me, is gaming’s secret, magic, rare ingredient.

I’m sick of invulnerability. I take no pleasure in running headlong into a field of enemies, having *just* learnt how to hold a gun, and clearing it out with no problem at all (I’m looking at *you*, *Far Cry 3*). Hiding while bullet holes heal Wolverine-like and my vision changes from *blood-red* to *you’re-fine-now grey* is just ridiculous. I don’t need perfect realism, I just need to not be broken out of my immersion by a college boy expertly using a sniper rifle (HELLO *FAR CRY 3* HOW ARE YOU). This works both ways, though – in *Halo*, in the glorious *Vanquish*, I *am* a super-soldier tank-wearing human, but the enemies I face demand brains as well as brawn. Running and shooting at the Covenant, on Heroic or Legendary, will soon result in a dead Chief.

Press [X] to become great [SNIPER]
The *Uncharted* series receives a great deal of criticism about its linearity, how the player really only has minimal control over the unfolding narrative. This is true, of course, but it’s not the whole story. What really makes Uncharted is the expertly managed feeling that your avatar is only *just* getting through each engagement, the skin-of-his-teeth kind of storytelling that served the good Indiana Jones films so well. The writing, animation and set-pieces – particularly in *Uncharted 2* – combine to create a righteous Boy’s Own adventure that frequently leaves the player gasping. My highlights both involved jumping – leaping across the internal walkways of a tower, avoiding gunfire and rocket launchers, and later diving between speeding jeeps, white knuckles grasping for traction on each narrow landing. Pure cinema thrills. Also, the first *Motorstorm* is superior in its series as it perfectly captures this same sense of clinging on, this time to the handlebars of your motorbike as you burst out from the surrounding carnage. The sequels left it out, and suffered as a consequence.

This sense of desperation against greater odds can also work from a first-person perspective, usually the mainstay of bulletproof mantanks. I *loved* the second half of EA’s 2010 *Medal Of Honor* reboot as it dared to do something that *Call Of Duty* would never attempt – it rounded you up in a disintegrating mud hut, encroaching enemies on all sides, before making you run away for your own survival. It’s a shame that the shockingly bad sequel, *Warfighter*, wasn’t brave enough to follow this lead, instead pandering back to the needs of the CoD demographic (and failing miserably in the process). *Mirror’s Edge* played with the idea of a vulnerable free runner actually being more burdened by a gun than without, highlighting the way you had to use your agility to escape the situation (at least, until the forced combat). The final chapter of each *Left 4 Dead* episode is a mad rush for the finish, hopelessly outnumbered with only your co-op friends to help you through.

Intense difficulty can also create the kind of desperation that is sharp and addictive. In recently playing the wonderful *Metal Gear Rising: Revengeance* and *Dead Or Alive 5*, I was reminded of the adrenaline thrill connected with the need to watch enemy attacks and react accordingly. There are little things more satisfying (in gaming, anyway) than being hopelessly beaten down and still emerging victorious thanks to some well-timed blocks and parries. This is further intensified when, in something like *Geometry Wars* or *Super Hexagon* (which I’m increasingly convinced might be the perfect game), you smash through your personal best and just hang on, instincts controlling your fingers while your heart screams in slow, breathless beats.

How does this link to *Tomb Raider*? By all accounts, it’s all down to Lara. She turns from shrieking, terrified girl to stalking hunter with bow in hand, until the end of the game apparently hints at the cocksure raider we know and love. However, it is we that shape her new skills and share in her vulnerability, her desperation to survive in the face of so much danger. There is still a clear line between combat and exploration – to the slightly irksome point that tombs are “optional” – but both are designed to their respective strengths. The combat pushes Lara into silent use of the bow, the exploration has vistas and physical puzzles that will delight all old-school fans. There are a few negative points, but critical feedback has turned the new *Tomb Raider* into something entirely tempting and exciting, and all because Crystal Dynamics decided to focus on the pure fear of a young girl alone in the jungle, the odds so stacked against her that it’s almost not worth fighting.

Almost.

 

 

*Some recommended reading:*

[Ellie Gibson’s excellent review on Eurogamer](http://www.eurogamer.net/articles/2013-02-25-tomb-raider-review)

[Kotaku’s review](http://kotaku.com/5986619/tomb-raider-the-kotaku-review)

[Kotaku – Why The New *Tomb Raider* Works](http://kotaku.com/5987067/why-the-new-tomb-raider–works)

 

Awesome: Bungie Unveils “Destiny” *UPDATE*

 

Bungie has finally drawn back the curtain on their first project since they left *Halo* behind them and sold their souls to Activision. *Destiny* seems to be an FPS MMO hybrid – a persistant sandbox galaxy that requires a mandatory internet connection. There won’t be subscription fees and they’ve been quick to pull away from the MMO connection, but the structure of the combat certainly sounds more like this genre than any other:

“Players love MMOs and open world games more for the emergent gameplay than the gameplay crafted by their designers. They remember the things that happened because players got together and did stuff, whether it be some dramatic boss fight at the end of an hour-long raid or the exploration of a cave discovered off the beaten track. Story lead Joe Staten expects Destiny will work in a similar way, with players building their “personal legend”.

 

 

It’s all a little vague still, with no gameplay or even screenshots to speak of. However, Bungie has certainly demonstrated in the past that they are able to single-handedly redefine online multiplayer, so they have the benefit of the doubt at this point.

Also, the concept art is *stunning*:

The beautiful Pike

 

Check it out at Eurogamer’s comprehensive write-up [here](http://www.eurogamer.net/articles/2013-02-17-destiny-bungie-unveils-its-shared-world-shooter).

 

*UPDATE:*

[The official *Destiny* website](http://www.destinythegame.com/) has released an [introductory video](http://www.youtube.com/watch?feature=player_embedded&v=EwOUi4JDC4o) with a few snippits of gameplay and, more importantly, a sample of the new score by Marty O’Donnell. More excited now.

Awesome: Please Let Today’s Star Wars Rumour Be True

Oh, man. There seems to be a new Star Wars rumour every day – this week alone has suggested origin movies for Han Solo and Yoda – but today’s is so good that I’m just praying that this one turns out to be true.

An Australian radio show is quoting a reliable source that insists the main baddie in JJ Abrams’ new Star Wars will definitely be…John Noble, AKA Walter Bishop from Fringe.

This guy
This guy

If you’ve seen him as the evil alternate Walter or his character in *Lord Of The Rings* then you’ll know how deliciously evil he can be without turning his character into a pantomime stereotype. Exactly what Episode VII needs. So, while I’m pretty sure that 99.999% of all the current *Star Wars* rumours will prove to be completely false, I’m hoping against hope that this one happens.

*Via [io9](http://io9.com/5982377/could-fringes-john-noble-really-be-playing-the-villain-of-star-wars-episode-vii?utm_source=kotaku.com&utm_medium=recirculation&utm_campaign=recirculation0)*

Awesome: “Star Citizen” Spaceships Are So, So Shiny

Hot *damn*. Ever since I read an article about specialist [Lego spaceships](http://kotaku.com/5901269/my-favourite-spaceships-in-the-world-arent-in-games-or-movies-but-lego/gallery/1) on Kotaku, I’ve been increasingly drawn to fantastic spacecraft art. And now, also on Kotaku, is a [collection of ship designs by Kemp Remillard]( http://kotaku.com/5981685/badass-90s-starfighter-design-lives-on) for the upcoming *Star Citizen* – and they’re all fantastic. A few of the cutaways are already calling for the print-and-frame treatment:

Spaceships

 

 

*Star Citizen* is the latest game by Chris Roberts, designer of Wing Commander, a game that Matt [rather likes](https://awesomefriday.ca/2013/01/awesome-classics-wing-commander-1990/). Hopefully the game will be as spectacular as the ships and the space trading simulation genre will get a much-needed shot in the arm.

Awesome: PS3 exclusive “The Last Of Us” sounds amazing

[Eurogamer](http://www.eurogamer.net/articles/2013-02-04-the-last-of-us-preview) has published an extensive preview of The Last Of Us, the PS3 swansong by Uncharted makers Naughty Dog. It sounds like it’s got all the spit and polish of the adventure series, with an added element of survival horror, but without any of the linear hand-holding that dogged Drake’s Deception:

Having proven so adept at telling its own stories, The Last of Us feels like a Naughty Dog game that finally allows players to tell their own, offering a space in which there’s a palpable sense of terror and a broad set of possibilities. Late in the play-through, we get to craft one of our own. With one bullet left in the stock of Joel’s shotgun and a single freshly crafted molotov in his backpack, we’re presented with a room with three creepers and a single runner; a grisly puzzle that plays out with grim results. The shotgun shell’s used to kill the runner at the far end of the room, the Molotov used to disperse the two creepers standing side-by-side while the final creeper’s seen off with a flurry of desperate hand-to-hand blows.

After the slightly disappointing aftertaste left by the aforementioned Uncharted 3, this has the potential to be one of the games that defines this generation, coming right before the PS3 becomes superseded. I *love* a good third-person adventure game, so this has me very, very excited.

Awesome: The LA Noire blooper reel is unbelievable

Holy shit. Rockstar has released [this video](http://www.youtube.com/watch?feature=player_embedded&v=1va8FxBl7Cg) showing the amazing level of detail present in the Team Bondi motion capture. Watch as the actors fluff their lines and the rest of the cast react, all perfectly captured and recreated in their respective characters. There’s rumours that Rockstar has incorporated this technology into GTA V, so I’m really looking forward to how it’s evolved.

As for now, I just need to find the will to play LA Noire.

**Update:** Here’s an embed!

_-Matt_

Via [Kotaku](http://kotaku.com/5981281/you-will-not-believe-youre-watching-this-la-noire-blooper-reel)

Awesome: Playstation 4 about to be announced?

[Eurogamer](http://www.eurogamer.net/articles/2013-02-01-next-playstation-believed-to-be-unveiled-on-february-20) has received word from Sony about a ‘business update’ set for February 20th and are pretty sure it will the official announcement of their next-gen console. Or, most likely, it’ll be “look for something cool at E3”. Here their supporting non-committal video to get your interested piqued:

[PS4?](http://youtu.be/d-3GMHIgR-U)

So this month has Metal Gear Solid: Rising on the 19th, new Playstation announcement on the 20th and I complete my 36th cycle around the sun on the 21st. Not bad, February. Not bad.

Awesome: Dan Houser on making a sci-fi Grand Theft Auto

OXM has an interesting story covering an interview with key Rockstar figure Dan Houser about the possibility of making a science-fiction themed _Grand Theft Auto_:

[Science fiction Grand Theft Auto is “very tempting”, says Rockstar boss](http://www.oxm.co.uk/49641/science-fiction-grand-theft-auto-is-very-tempting-says-rockstar-boss/)

> We will do it the very second we have an idea,” Houser replied, when asked whether the franchise would ultimately transcend the present day. “One of our strengths is the consistency of the game world. We’re not necessarily the best writers in the world, but we how to write a video game.

> When we decided to make a Western, it was because we knew we had something to say,” he went on. “We have no interest in going into science fiction for the sake of flying cars and laser guns. The best science fiction stories are those that speak about the human condition. So while this idea is very tempting and, by definition, anything’s possible in a videogame, we lack the essential thing for the moment: a good reason.

It’s good to know Houser recognises that a good story is at the heart of quality SF instead of just “flying cars and laser guns”. As each GTA seems to get bigger in both scale and ambition, I wonder if the shift into the coming next generation of consoles will finally see this dream realised. A space-based GTA? I’d be there in an instant.

It does, however, beg the question of what is happening with _Prey 2_. The enthusiasm based on the [amazing trailer](http://m.youtube.com/#/watch?v=_X68VEaIIdc&desktop_uri=%2Fwatch%3Fv%3D_X68VEaIIdc&gl=GB) soon fizzled away as it got repeatedly postponed, then troubling stories emerged of the developers being on strike. Let’s hope it doesn’t disappear completely – an open-world space bounty hunter game would certainly get my interest.

Awesome Daily – 26th Jan 2013

Ready Steady Bang

_Hello! Welcome to the first Awesome Daily._

_So many little things happen during the day that Matt and I want to share, but often they’re little snippets or redirects and not really suitable for a full-blown article. We’ve started putting them on our Facebook page ([LIIIKE USSSSS](https://www.facebook.com/AwesomeFriday) sorry) but want to make them available to everyone. So, we’re going to try and make a single daily post of all the little bits and bobs we think are cool from the day. It could be the announcement of a new film from our favourite director, a quick iPhone recommendation or just a reaction to something we’ve heard – a quick and easily digestible slice of the day’s cool news. Let us know what you think._

### Ready Steady Bang, Free game for iOS

So, let’s get started with my new favourite thing – Ready Steady Bang on iOS. It’s a free single press quickdraw game that is all about fast reactions. The single, multi and online play
modes, combined with a deliciously simple graphic style, has already
made this essential. Grab your gun and start taking down those pesky outlaws.

[[iTunes link](https://itunes.apple.com/ca/app/ready-steady-bang/id447588618 “Ready Steady Bang on iTunes”)]
– _Simon_

### JJ Abrams Confirmed to Direct Star Wars Episode VII

It’s official folks. [Press Release from StarWars.com](http://starwars.com/news/star-wars-is-being-kick-started-with-dynamite-jj-abrams-to-direct-star-wars-episode-vii.html “STAR WARS IS BEING KICK-STARTED WITH DYNAMITE J.J. ABRAMS TO DIRECT STAR WARS: EPISODE VII”)

> After a bevvy of emails and phone calls, the formalities have been
> wrapped up, and at long last everyone can exhale and properly share
> the word with an excited Internet. Yes, J.J. Abrams will direct Star
> Wars: Episode VII, the first of a new series of Star Wars films to
> come from Lucasfilm under the leadership of Kathleen Kennedy. Abrams
> will be directing and Academy Award-winning writer Michael Arndt
> will write the screenplay.
>
> “It’s very exciting to have J.J. aboard leading the charge as we set
> off to make a new Star Wars movie,” said Kennedy. “J.J. is the
> perfect director to helm this. Beyond having such great instincts as
> a filmmaker, he has an intuitive understanding of this franchise. He
> understands the essence of the Star Wars experience, and will bring
> that talent to create an unforgettable motion picture.”
>
> George Lucas went on to say “I’ve consistently been impressed with
> J.J. as a filmmaker and storyteller.” He’s an ideal choice to direct
> the new Star Wars film and the legacy couldn’t be in better hands.”

To me this is good news. I’ve found his films good but, uh, safe. What I will say is that while I like what he and his team with Star Trek, the storytelling style is likely much better suited to Star Wars which is more Science Fantasy than Science Fiction. Not that it really matters, you know I’m going to be there on opening day. – _Matt_

### LOL: Everything Wrong With _Avatar_ in 4 Minutes or Less

CinemaSins released the latest in their _Everything Wrong With…_ series.

Some of these are a bit of a stretch if you ask me but it’s still funny.

[[YouTube Link](http://www.youtube.com/watch?v=Fq00mCqBMY8)]- _Matt_