Pushmo Sequel, Epic Mickey Demo Headed to eShop

0 comments


Nintendo has announced a slew of new games headed to the 3DS eShop. In addition to newly-announced release dates for Virtual Console games and the biggest retail games becoming downloadable, Nintendo announced that Pushmo -- the eShop’s biggest hit -- will have a sequel called Crashmo.

Crashmo lets players use “a whole new kind of action-puzzle play,” with new gravity mechanics like floating blocks, doors and switches. Players will “push, pull and slide each puzzle’s colorful blocks in order to climb to the top,” but unsupported blocks will fall to the ground. Crashmo contains “enhanced puzzle-creation and sharing features” and will launch on November 22nd.

Beyond Crashmo, Nintendo also announced the following games for eShop:

  • NightSky -- an action-puzzle game with “cerebral challenges that fill uniquely designed, picturesque worlds” where players “maneuver a sphere by using realistic physics to advance.” (October 25th)
  • Fluidity: Spin Cycle -- use tilt controls to maneuver Eddy, a puddle of water, “through a maze-like, magical world” and switch from water to ice or a steam cloud to solve puzzles. (December 27th)
  • Three games from Level-5 including Suda 51’s Liberation Maiden, Aero Porter by Yoot Saito and Crimson Shroud by Yasumi Matsuno (Holiday 2012)
  • Tokyo Crash Mobs -- an action-puzzle game where players must survive “three chaotic weeks” as they “they take on anyone and anything that gets in their way.” (Early 2013)

Nintendo will also release two demos on the eShop for Style Savvy: Trendsetters, with the first launching today and the second available on November 1st. Players will be able to style clothes and make up, participate in fashion contests and more before the full game launches on October 22nd. The following game demos are also “coming soon” to the eShop:

  • Adventure Time: Hey Ice King! Why’d You Steal Our Garbage?!!
  • Disney Epic Mickey: Power of Illusion
  • LEGO Lord of the Rings
  • Moshi Monsters: Moshlings Theme Park
  • Sonic & All-Stars Racing Transformed

“The Nintendo eShop demonstrates Nintendo’s commitment to providing consumers with unique digital content through a combination of creativity and convenience,” said Nintendo of America executive vice president of sales & marketing Scott Moffitt. “The variety and quality of games coming this year is unmatched, from new entries in established franchises to original properties.”

Andrew Goldfarb is IGN’s associate news editor. Keep up with pictures of the latest food he’s been eating by following him on Twitter or IGN.


Source : feeds[dot]ign[dot]com
Read More

The 13 Most Shameless Super Mario Rip-Offs on iPhone

0 comments


He's the most iconic cartoon character on earth - a video game legend and the star of nearly three decades worth of incredible platforming games, go-karting games, freelance gynecologic work and whatever the hell he was doing in that game alleyway. Yet aside from a few trips and stumbles, Nintendo always makes sure that every entry in the Super Mario franchise has fantastic quality control.

Sadly though, Nintendo doesn't make any of these terrible Super Mario rip-offs on the iPhone. Most of these have since been altered or removed entirely from the App store since their initial slips past Apple security, but here we have preserved them as they originally appeared in all of their awful, awful glory.

Editor's Note: Every single one of the titles below are (or at least were) real, actual games that hit the iOS App Store.

3D Cartoon Land Safari

You see, the way copyright law works is that if you change only one detail of a product you've completely stolen, nobody can ever sue you. Right?

A Kaizo World

"AVOID DON'T BUY DODGE THIS GAME TO SAVING A DOLLAR"

Barrels!

Donkey Wrong.

Cloud Run

DELETE ->

Game Guy

Remember when classic retro handheld systems had the phrase "Classic Retro Handheld System" on them?

Mole Kart

Instead of a blue shell, why not throw your credit card?

Monino

How many "lifes" have been wasted playing this shameless rip-off?

Otaku Dash

Yes, that's a pile of sh*t. On top of the pile of sh*t that is this game. So basically this game has pile of sh*t inside a pile of sh*t. Sh*t.

Super Daddio

This game runs at more frames per second than Mario 64, hence it's better so therefore checkmate.

Super Jump World

At least this one manages to ditch the anti-European stereotypes inherent in the actual Mario games. Oh wait, this one is just racist against the Irish.

Super World Adventures

Why play as Mario when there's a farmer who just realized how high he was?

Tommy's World

Oh no! Watch out, Tommy!

Wait, who the f*ck is Tommy?!?

Ultra Dario

When there's no more Mega Barrio, Duper Marlo and Superb Sargento in hell, the Ultra Dario will walk the earth.

Brian Altano and Mike Drucker are hopefully much more fun and original than any of these terrible clones when they write IGN's premier comedy news show, Up At Noon. Follow them on Twitter at @agentbizzle and @MikeDrucker.


Source : feeds[dot]ign[dot]com
Read More

The Most Impressive Physics Engine You’ve Never Seen

0 comments


The effects of a real life high-speed collision on a car are catastrophic. In video games, however, things are different. Technical ceilings, licensing hurdles and other factors have long conspired to keep car damage relatively superficial; a pre-canned layer beneath the surface, peeled back gradually whenever the game detects the player should be seeing a few token dents and scratches.

When’s the last time you played a racing game, or perhaps an action game with a driving component, and marvelled at the realism of the crashes? For every one that gets even mildly close there are handfuls more that suffice with the bare minimum of slightly crumpled panels and scuffed paintjobs.

Surely it doesn’t have to be this way? No, it doesn’t.

And earlier this year a small start-up company called BeamNG proved it.

Watching BeamNG’s debut reel is a little like the automotive equivalent of the first time we all saw NaturalMotion’s euphoria engine in action way back in 2006, in that tech trailer of the Indiana Jones game that never came to fruition. Just like euphoria gave us tumbling bodies that look like real tumbling bodies, here were car crashes that looked like real car crashes.

This is soft-body physics.

You may have come across this video before; it chalked up two million views in just three days when BeamNG published it back in March. Perhaps you saw their second video, released in July, or the pair of single crash clips they uploaded just days ago. Or perhaps you’re a Rigs of Rods aficionado, an open-source driving sandbox game loved by fans for its soft-body physics (although they’re not as good as those on display in the videos here).

Where you haven’t seen these amazingly realistic vehicle collisions, however, is in a big budget commercial racing or driving game.

In October 2011 the Rigs of Rods team decided the potential for the sort of soft-body physics on show in their game was too great to ignore. They began work on a new a new physics engine from scratch. It was built upon the same physics concepts, just more refined and optimised.

The BeamNG team illustrate to us in a little more detail why they chose to focus on real time soft-body physics and how they differ from the norm.

Soft-body simulators are way more CPU intensive and do not like tweaks that get them away from physically correct behaviour.

“There are basically two types of physics simulations,” explains the BeamNG team, who’ve asked that their responses be attributed to the entire group rather than individual crewmembers. “Rigid body simulators and soft-body simulators.”

“Rigid body simulators are the dominant physics simulation paradigm as they are less CPU intensive and easier to ‘tweak’ for special behaviours. These systems simulate objects as a ‘whole’, where each different category of an object needs some programmer to code its behaviour. The artist is allowed to tweak some parameters of the programmed behaviour of each object.

“Soft-body simulators are way more CPU intensive and do not like tweaks that get them away from physically correct behaviour. They simulate objects as the sum of their parts where the object’s behaviour is emerging from the behaviour of all its parts. If the programming is clever and correct, the same system can simulate a wide gamut of different object classes.”

So basically, the artist is free to design whatever they wish and the design itself will define the object’s behaviour. The team explains that, due to the freedom that a soft-body simulator provides an artist (because they don't need to find a programmer to code any behaviour of a new type of vehicle), soft-body simulator games tend to foster highly engaged creative communities around them.

[T]he way physics is being done in today's games is too simplistic and artificially touched up.

“The accurate physics and freedom that a soft-body simulator has, as well as the inspirational and creative communities that emerge around them, are what originally attracted us to the field,” continues the BeamNG team.

“In our opinion, the way physics is being done in today's games is too simplistic and artificially touched up. In most games, it has nothing to do with reality anymore and more with ‘appearing’ physically correct. The underlying physics are tuned until the artists are pleased with the results.”

BeamNG assembles its vehicles from around 50 separate parts.

So what’s going on under the hood here? How does it all work? The team explains.

“First, we have only very simple entities that are simulated in our physics core. These are mass points, nodes in our parlance, and the connections in between them, beams. That's it. We do not have one line of code describing how a car should behave.”

We’re told to try and compare the concept to this construction toy. The balls are the mass points and beams are what connect them.

“In addition to the basic node and beam entities we have special entities that simulate more elaborate behaviour. Some examples of these are, hydraulics which are beams with the ability to expand/contract, and engines which are nodes with the ability to create rotational forces.

“So, when you want to simulate a car, you build a frame of nodes and beams, plus hydraulics and engine, that looks like the shape of a car. Similarly when you want to simulate an airplane you build a frame that looks like an airplane. The same applies for all other things that you could think of: bicycles, boats, ragdolls, etcetera.

“The traditional approach to above would require to have specially programmed code for each type of object class... Each of these different object classes would require a person with domain knowledge, car physics, airplane physics, to describe in code the whole object's behaviour.”

Perhaps what seems most stunning is not that a small team of four could put together such fascinating tech in the first place, but that in 2012 there’s still a hole in the industry big enough for them to do so. The game industry pursues realism tenaciously, and yet today’s games still do not feature cars that behave, flex under stress or deform as realistically as this.

The BeamNG team explain that the film effects industry and the motor industry have used this kind of simulation for some time, but their simulators are non real-time and require hours to calculate just one second of action.

“Concerning the game industry, while the whole mass-spring idea initially seems very simple, it's extremely difficult to make it work correctly in real time,” continues the team. “Mass-spring systems have very bad stability, they tend to explode, and are very CPU intensive. Also it is very hard to make them work for stiff materials, metals, in real time.

“Hence the majority of their usage is for calculating ‘soft’ materials like cloth.”

The team also expresses that it’s exceptionally difficult to calculate collisions in real-time for stiff mass-spring systems and keep them stable in the face of extreme collisions.

[I]t is natural that most of a game company’s efforts will be spent on ‘how things look’ rather than ‘how things move’.

“Think of a jet hitting a solid wall at MACH-1,” is their example. If you can't picture it, check out this controlled crash test of an F-4 Phantom hitting a concrete block.

“It requires an enormous amount of knowledge, experience, time and effort to solve all of the above problems efficiently,” they continue. “So it is reasonable for game companies to choose the more direct, proven and good-enough approach of rigid-body for vehicles and soft-body for cloths and other special cases.

“In addition the wide held rule of the gaming industry is that looks are the major selling point for games. So it is natural that most of a game company’s efforts will be spent on ‘how things look’ rather than ‘how things move’.”

Perhaps one of the biggest hurdles going forward, at least for developers of games that rely on real-world vehicles, will be the car manufacturers themselves. It seems like a double standard, factoring in what Hollywood does to cars regularly, but automobile manufacturers have historically been very strict about what they’ll tolerate when it comes to video game damage. We ask the BeamNG team if they would suspect this as a factor in preventing their engine being standard in all car-based video games or will things gradually change?

The BeamNG team suspect that the truth is more complicated and that it mostly has to do with expectation management.

“Concerning Hollywood, they have a preference of depicting extreme car crashes for which the viewer's expectation is that the car should indeed be totalled,” explains the team. “[We] don't think that car companies worry about these scenarios because it is naturally expected for a car in these situations to be totalled to meet with the user experience.”

These traditional damage models are in essence interpolations between predesigned car states.

“In a game, vehicle interactions with the world are not always so extreme as in movies. So if a player scratched a car on a wall and the game wrongly reacted by totalling the car it could create the expectation to the player that the real car would behave the same as the simulated car in the game. The general situation becomes worse due to the artificiality of the traditional game damage models. These traditional damage models are in essence interpolations between predesigned (damaged, undamaged) car states.

“So for a car company to be sure that no such ridiculous situation as the one described above would happen, they would have to go and check all the possible actions and damage reactions of the whole game. This isn't so easy to do exhaustively, so the simple solution for the car companies is to just forbid any car damaging.

“In our physics engine we can simulate realistically enough a Euro-NCAP suitable car, so that it won't be that far from the expected behaviour. On the other hand, if we'll be allowed to have such a car fall from 200 metres is a different story!

“Though at the moment, we are not portraying any licensed cars, so what car companies will allow us to do is currently irrelevant for us.”

Luke is Games Editor at IGN AU. You can chat to him about games, cars and how many of the latter he's smashed into other cars on IGN here or find him and the rest of the Australian team by joining the IGN Australia Facebook community.


Source : feeds[dot]ign[dot]com
Read More

Iterative is Not a Dirty Word

0 comments


Iterative. It’s a term that’s often used with some measure of distaste, but the truth is there’s a whole lot to value in games that don’t necessarily switch up their gameplay.

To be clear, there are games that are derivative (like Mutant Mudds) and games that iterate on a core gameplay mechanic that didn’t really work the first time (like Final Fantasy XIII-2), but we’re talking about the practice of taking a refined core and adding new bits and bobs. And that has a history of paying off. Working with a pre-defined gameplay style, and in some cases within the exact same engine as a previous game allows for experimentation and innovation in other areas that can pave the way to the next big thing.

The Need for Speed series is soon to see its 17th main entry (excluding World and Nitro), and has been through at least three distinct eras of iteration, each with their own highs and troughs. In retrospect, the entries that proved most influential and innovative were the ones that released a year or less after their direct predecessors, keeping the core gameplay near-identical while focusing on gimmicks elsewhere.

The best thing that came out of the ill-fated 3DO?

Take Need for Speed II (1997) and Need for Speed III (1998). The latter shipped with a standard racing mode that almost mirrored the features of the older game, but it also added the ‘hot pursuit’ mode which would go on to influence countless games and define the cop chase gaming trope for the generation and beyond.

Similarly, NFS Underground (2003) laid a solid foundation for Underground 2 (2004), which helped pioneer the open world racer and undoubtedly influenced an open world push in other genres as well.

The much more recent Hot Pursuit (2010) consciously takes the decades-old approach to racing pioneered in the original 3DO game as a base, adding the best features from the smorgasbord of following titles and wrapping it all up with a modern sheen. However, it also had an eye on the future with Autolog, the social stat-tracking feature that played a huge role in fostering what we now call asynchronous multiplayer. None of these industry-shifting innovations would have been possible without constant iteration, a process that can establish a solid baseline upon which to build and test innovative features.

New Super Mario Bros is a pretty fresh example. Sure, the concurrent development of both a 3DS and a Wii U iteration of a decades-old gameplay style has had pockets of the community frothing at the ‘stache with rage. But let’s not forget that Super Mario Galaxy 2, almost universally lauded for moving the series forward with innovation (and often contrasted with the New Super games as a series that ‘does it right’), borrowed much from its iterative and super-successful cousin NSMB Wii. Galaxy 2 employed a simplified straight-line stage progression, side-scrolling old-school homages and comet medals – a play on Galaxy’s prankster comet system that took direct inspiration from the hidden star coins of the New Super series.

So while each entry into a series can appear to be ‘more of the same’ (and in many ways they may be), that does not discount each title’s ability to contribute significantly to the industry and culture. New Super Mario Bros 2’s coin rush mode, to take just one example, might appear to be tacked on but the idea provides an incentive for dedicated players to learn the ins and outs of every single stage, playing them repeatedly and driving a constant dialogue between gamers.

This tactic is prescient of the indirect social approach Nintendo appears to be making as part of its upcoming home console. It’s an effective tactic, as evidenced by the myriad wiki entries and coin run videos online, and by the fact that according to Nintendo’s Japanese NSMB2 website, which has a live counter, more than 151 billion coins have already been collected worldwide.

A proven and refined game style that is stable, predictable and guaranteed to sell, in other words, is the perfect avenue to test the waters of a new direction. There’s every possibility that in ten years one could look back at NSMB2 as the first step towards the new breed of platformers or even of socially-enhanced single-player experiences.

Of course, there are positive examples of iteration that barely need to move forward at all. Take Professor Layton for example – a game that nailed the perfect gameplay to deliver its content in its first outing – which needs only to deliver new content (puzzles) with each iteration to make for great successive experiences.

Then there are franchises like NBA 2K and WWE, games that are necessarily more of the same because all the gamer really wants is fresh details. Of course these gamers generally have a specialised interest in the genre, and so a slow progression of the gameplay is less of a deal-breaker.

Disenchantment with an iterated franchise really only seems to occur on a large scale, somewhat incongruously, in the most widely popular games.

Call of Duty (and shooters in general) iterated for several chapters before hitting an enormous goldmine of mainstream success in Modern Warfare. The kind of innovation in that game, however, is only possible on a foundation of gameplay forged by iteration and it simply can’t be reproduced year after year.

In the case of CoD, the innovative online suite and attractive setting were merely a dressing on top of already in-place systems including online player rankings and classes, or even gameplay features like iron sights. The slew of features developed and refined in previous games made solid bedrock for the new elements (which could easily have failed if attached to a different game) and the combination results in what feels like a huge revelation of innovation, but is actually just a tipping point.

The period of iteration that follows seems unadventurous by comparison, as developers search for a way to keep the processes that were successful last time but also find something new. Meanwhile, gamers who have been spoilt by a huge new thing – be it Modern Warfare or Mario Galaxy – are often so quick to dismiss the games that seem like ‘more of the same’, that they overlook the function those games have in driving the direction and innovation of future experiences.

Tim is a games writer based in Melbourne. If you’d like to read the same article with new levels and cooperative multiplayer you can find him here on IGN. And why not join the IGN Australia Facebook community while you're at it?


Source : feeds[dot]ign[dot]com
Read More

EVE Online Retribution Announced, Detailed

0 comments


Chances are you've probably read more about EVE Online than you've played it. Approaching its 10-year anniversary, the spaceship-filled MMO from CCP Games has only grown each year, and the team predicts that 2013 will be their biggest yet with the free upcoming expansion EVE Online: Retribution.

Retribution is CCP's attempt to make EVE a bit more approachable, as well as update systems that just aren't working all that well. Most notably, the team is changing up the Bounty Hunting and Crimewatch systems. The new bounty system will allow players to not only place marks on users, but also corporations and alliances. The Crimewatch system will now have very easy-to-understand symbols that show you what level of crime you've committed and tell you the consequences at a glance. Additionally, Crimewatch is being redesigned so that there are less loopholes for players to commit crimes and then take actions that game the intended system. CCP loves emergent gameplay, but they really want Retribution to emphasize the idea that every action has a tangible consequence.

Other changes coming in the December 4th expansion are tweaks to the Factional Warfare system, revamped art and graphics for ships, a new mining frigate, four new destroyers (one for each faction), NPC AI improvements, better UI, a "Weapon Safety" feature that will prevent new players from accidentally committing crimes and the opening up of some of the studio's CREST API to see what users can do with it. CCP also wants to do some rebalancing, with boosts to early warfare, as well as improvements to the role and progression systems for ships.

Anthony Gallegos is an Editor on IGN's PC team. He enjoys scaring the crap out of himself with horror games and then releasing some steam in shooters like Blacklight and Tribes. You can follow him on Twitter and on IGN.


Source : feeds[dot]ign[dot]com
Read More

Level Up With These New Wreck-It Ralph Images

0 comments


Check out these all new images from Wreck-It Ralph, Disney's animated tribute to video games that hits theaters November 2!


Source : feeds[dot]ign[dot]com
Read More

Call of Duty: Black Ops 2 – Multiplayer for Everyone

0 comments


Millions of people play Call of Duty every year, but many of them don’t experience everything the games have to offer. For some, Call of Duty games have become campaign-only experiences with multiplayer being looked at as “too unapproachable” or “intimidating.” Even some of the players killing one another online every day never do things like Prestige or use the film systems, often because they don’t want to lose their progress or it’s too overwhelming, respectively.

Rather than just rehashing the same multiplayer modes and other tools, developer Treyarch is attempting to employ a number of smart tweaks to known systems in an effort to make Call of Duty: Black Ops 2 the most approachable Call of Duty to date. They want you, person-who-only-plays campaign, to jump into multiplayer and learn the ropes with people who make you feel competitive. They want everyone to create films with as little or as much effort as they want. They just want you to feel like Black Ops 2 was made for you, whether you’re a headshot master or the type of person who can’t seem to keep your gun straight.

Any of the millions of people who have gotten into Call of Duty over the years have probably experienced the hardships of starting out. You come into the game after the franchise has been out for years, or maybe even jump back in to the new game after it’s been out for a few months, and you get your ass handed to you. You just can’t compete with a legion of hardcore fans that have way more hours than you to hone their skills, and thus some of you put down the controller in frustration, never to return.

To combat this, Treyarch is first and foremost introducing Combat Training, a series of special takes on team deathmatch and Black Ops 2’s objective-based modes. Here players can level from 1-10, facing off against teams that have a mix of human and AI opponents. When they hit level 10 they’re no longer allowed to participate, though anyone can still do “Bot Stomps,” teaming up with five of their friends and just murdering AI opponents for no experience. The hope is that the Combat Training modes will ease new players into the game’s multiplayer in a less-harsh environment, and that things like Bot Stomps will allow them to fight easier enemies and experience some of the game’s cooler things, like the Kill Streak-replacing Score Streaks. Even skilled players could find something to enjoy in Bot Stomps, as Treyarch views this as an excellent way for clans to plan out tactics and practice them in private before taking them out in real matches.

Of course once you get a bit of multiplayer experience under your belt you get to build a class, and Treyarch is completely redoing Black Ops 2’s loadout system to make it intuitive for all users and still feel like something new for longtime fans. Referred to as the “Pick 10 system” (which you can read about more in our previous coverage), this is where you get the most flexible loadout system ever implemented in a CoD title. Every gun, attachment and perk has a value of one, and in the Pick 10 system you get to choose a loadout of your own devising that combines most any combination of them. For instance you could take a primary weapon with two attachments, a secondary weapon with the same, then two perks and two grenades. Or you could use Wild Cards, which take up a precious slot but in turn allow you to break a game rule, to go all out on a primary weapon and give it three attachments and then use another Wildcard to take four perks instead of three. The sheer number of combinations you can do is pretty incredible, and should give even seasoned fans a lot to think about and fun ways to experiment with their loadouts.

If the Pick 10 system sounds too overwhelming for new players they can also use pre-made loadouts or tweak these to suit your personal playstyle. Additionally, you won’t have everything unlocked at once, but instead will have to hit the right level to unlock the option to use tokens (earned through leveling) to permanently unlock the gear.

Maybe you don’t think the Pick 10 system lets you take enough gear, or maybe you wish that you could play multiplayer with just your friends. Well, for you Treyarch’s including a robust Custom Games mode in Black Ops 2. You can choose between any of the modes, add bots, restrict content, modify the Pick 10 system so you can choose as few as three or as many as 17 items, and more. If you want to create your own take on Capture the Flag or Kill Confirmed and then play with your buddies then Treyarch wants you to do so. With Custom Games it’s like Treyarch is trying to tell you that they don’t care how you play, just that you’re playing.

If all you want to do is play team deathmatch you can do that, but for people looking for something new you can check out the new Hardpoint mode, as well as multi-team battles. Hardpoint is essentially Halo’s Crazy King, with capture points that bounce around the level, forcing each team to see who can hold it the longest before it up and moves again. It’s nothing revolutionary, but it’s a great addition to Black Ops 2’s multiplayer suite.

The multi-team battles, though, they really change up the dynamic of a multiplayer match. You can play three teams of four or four teams of three, with up to 18 players in a Custom Game match. The only modes currently available in multi-team battles are team deathmatch, Hardpoint and the returning Kill Confirmed, but even with the limited list this mode makes for a great alternative to standard matches. Each team essentially turns into a roving pack, with teamplay and communication becoming crucial. Multi-team battles end up having the frantic pacing of a free-for-all match with the teamplay of TDM. It’s a weird mix that just works, and is a hell of a lot of fun.

If you decide to spend the time to level up you’ll have the option to Prestige in Black Ops 2, only now you don’t lose your Challenge and weapon progress. Let me restate that, because it’s a big deal: You don’t lose your progress when you Prestige in Black Ops 2. Instead, Prestiging earns you a token you can use to ignore level requirements and unlock an item permanently, as well as one of three additional options: an extra slot for Custom Class slot; reset your stats just like you would in previous versions of Prestige; a refund that you can use at any point during your Prestige level allowing you to get all your unlock tokens back and spend them how you see fit. The reset option is there for the hardcore players who liked the challenge of starting over, but the other choices exist because they want more people to participate in Prestiging, which previously the studio found people avoided. With 10 levels of Prestige available, and emblems available for each that showcase just how much of a badass you are, the hope is that Black Ops 2 Prestige system will draw people in like never before.

Once Treyarch has all of us playing hours and hours of Black Ops 2 multiplayer, they want us to get involved with the community. One part of this strategy is the built-in shout cast capabilities, which Treyarch hopes will build up a whole new wave of Call of Duty personalities. The other part of this is improved Theater. Just like before you can cut together your games, editing short films that showcase your skills or maybe show a hilarious failure. For some people, though, the system was too complicated and time consuming, thus they avoided it altogether. To better serve these parts of the audience, Treyarch has created a one-button system where you can take any match you’ve played and have the editor pick out the highlights and cut it together in seconds. After that it’s easy to upload it to the internet and spread it around, or go in with the editing tools and tweak it to your liking. On the flipside the Theater mode also has even more tools to let ambitious film makers create elaborate scenes, such as the “attach to object” tool that lets you stick the camera to parts of the world, including things like rockets as they fly out of an RPG. The goal is to cater to both extremes: the lazy or less-interested players who don’t want to take the time to create a film, as well as the future Martin Scorceses of the world.

Call of Duty: Black Ops 2’s multiplayer probably won’t change your mind if you dislike the franchise already, but with so many smart changes to previously established systems it just might manage to win over a few new fans, as well as surprise the hardcore with it's twists on the formula. The tagline for Black Ops 2 is “The future is black,” but with what I’ve seen so far I’d say it’s better written as “The future is bright.”


Source : feeds[dot]ign[dot]com
Read More

Get Ready for the Ultimate IGN UK Pub Quiz!

0 comments


Like the idea of trading the encyclopaedic games and movie knowledge stored in your brain for money-can’t-buy prizes? Then say hello to the IGN UK Pub Quiz, your chance to prove you really are the country’s fount of entertainment knowledge!

For the next IGN UK Pub Quiz – taking place on October 11, starting at 6.30pm – we’re planning something rather special as we’re bringing it to the London Games Festival for the first time, in aid of the video games charity SpecialEffect, helping people with disabilities enjoy video games. It’ll be the toughest quiz we’ve put together yet – if you don’t know the name of James Pond’s nemesis then chances are you might struggle – but as a reward we’ll be giving away the sweetest swag you can lay your hands on.

That’s not all. Once the victorious team has been crowned GamerDisco will be taking control of the decks to ensure the celebrations continue long into the night.

If you want to get involved then you need to put together a team of six people, at a cost of £30 per team. Remember, all proceeds are going straight to SpecialEffect so it really is for a good cause, and every penny does make a difference.

You’ll need to be fast though – we’re expecting demand to be high and there’s only space for nine team, so head on over to the IGN SpecialEffect registration page and guarantee your space now!

Find out more about the amazing work SpecialEffect is doing but checking out the website.


Source : feeds[dot]ign[dot]com
Read More

Joe Danger: The Movie Headed to PS3

0 comments


Hello Games has announced that Joe Danger: The Movie will be released on PlayStation Network. While no release date was announced, Hello notes that the game is coming “really soon,” possibly even within the next couple of weeks. “We’re working like crazy on it at the moment, and surprised ourselves with how well it’s going,” Hello said in a statement. “Sony are being awesome and pulling out all the stops too.”

Joe Danger: The Movie will have 10 hours of extra content on PlayStation 3, returning to the simplicity of the bike from the original Joe Danger. Hello says the PS3 version is “shaping up to be something really special.”

Joe Danger: The Movie is a sequel to 2010’s Joe Danger and hit Xbox 360 on September 14th. For more, read our Joe Danger: The Movie review.

Will you buy Joe Danger: The Movie on PS3? Let us know in the comments below.

Andrew Goldfarb is IGN’s associate news editor. Keep up with pictures of the latest food he’s been eating by following him on Twitter or IGN.


Source : feeds[dot]ign[dot]com
Read More

Humble Indie Bundle 6 Adds 4 New Games

0 comments


Humble Indie Bundle 6 has added four additional games to its line-up. Available now, Bit.Trip Runner, Wizorb, Jamestown and Gratuitous Space Battles can be unlocked by paying at least the average amount for the bundle, which is currently at $5.89.

Humble Indie Bundle 6 launched last week and also offers Rochard, Torchlight, Shatter, S.P.A.Z. (Space Pirates and Zombies), Vessel and Dustforce. As with all Humble Indie Bundles, customers can pay whatever they want for the games, dividing their purchase to go to charity, foundations, game developers or even to Humble Indie Bundle itself. All 10 games are DRM-free and will run on Windows, Mac or Linux, and would be worth more than $135 if purchased separately.

Charities included in the bundle are and Child’s Play, which donates games to children in hospitals worldwide, and non-profit organization The Electronic Frontier Foundation, which advocates for digital privacy rights. So far, more than 231,670 bundles have been sold, and sales will continue for another week.

To make your purchase, head over to Humble Indie Bundle’s official site.

Andrew Goldfarb is IGN’s associate news editor. Keep up with pictures of the latest food he’s been eating by following him on Twitter or IGN.


Source : feeds[dot]ign[dot]com
Read More

Lingerie League, lawmakers pile on replacement refs

0 comments


Everyone from lawmakers to lingerie lovers are piling on the NFL for using replacement referees that critics say are blowing calls, letting games get out of hand and even putting players at risk.

As the lockout of the league's regular zebra-striped refs passed Week 3, officials with the Lingerie Football League told FoxNews.com that some of the replacements the league is using were rejected for getting calls wrong in gridiron contests between scantily-clad women.

"Due to several on-field occurrences of incompetent officiating, we chose to part ways with a crew which apparently is now officiating in the NFL," Lingerie League commissioner Mitch Mortaza said in a statement. "We have a lot of respect for our officials, but we felt the officiating was not in line with our expectations.”

Mortaza, a lifelong Washington Redskins fan, said the poor officiating is compromising the integrity of the league and if he were the NFL commissioner he’d hold a meeting with the owners to bring the union officials back into action.

"There are just too many instances where their incompetence has been on display."

- Mitch Mortaza, Lingerie Football League commissioner

"There are just too many instances where their incompetence has been on display," he said. "Someone’s going to get hurt."

At the same time, several lawmakers were chiming in, notably Wisconsin Gov. Scott Walker and GOP vice presidential nominee Paul Ryan, who both hail from the home state of the Green Bay Packers, who lost Monday night on a disputed, last-second call.

"After catching a few hours of sleep, the #Packers game is still just as painful. #Returntherefs," Walker tweeted early Tuesday.

Ryan, for his part, compared the refs to the Obama administration during a campaign stop in Cincinnati, Ohio.

"I half think these refs work part-time for the Obama administration in the Budget Office," he said. "They see the national debt clock staring them in the face, they see a debt crisis and they just ignore and pretend it didn’t even happen. They are trying to pick the winners and losers and they don't even do that very well."

And a top state lawmaker in New Jersey has seen enough of the NFL’s replacement referees, and he’s looking to ban them from working football games in New Jersey, where the Jets and Giants play their home games. State Sen. Steve Sweeney said the inexperienced referees could get someone injured

"Whether the sport is football, soccer or baseball, when referees don't know how to properly enforce the rules, there is a real chance for unnecessary and serious injury," said Sweeney. "If the NFL insists on putting replacement officials on the field, putting players at risk, then the state shouldn’t be playing a part in that."

NFL spokesman Greg Aiello said disputed calls happen no matter who referees the game and said the league’s owners and Commissioner Roger Goodell are working to end the lockout.

"We appreciate Senator Sweeney's interest, but officiating controversies have always been a part of sports," Aiello told FoxNews.com. "Our staff, including Commissioner Goodell, has been in negotiations with the referees union for the past week. We hope to reach agreement as soon as possible."

Even President Obama couldn't resist staying out of the pile up, tweeting, "NFL fans on both sides of the aisle hope the refs' lockout is settled soon."

The NFL employs 121 full-time referees, who reportedly make an average of $149,000 a year for their Sunday afternoon services. Most have other full-time jobs. The two main stumbling blocks in the labor dispute are retirement benefits and the NFL team owners' desire to impose new accountability standards on the referees.

On the retirement issue, refs currently have a guaranteed pension that the owners would like to convert to a market-vulnerable 401(k) plan. The owners are seeking new accountability by gaining the ability to pull poorly-performing refs and replace them from what would be a new pool of backup referees. Although this would expand the number of referee jobs, the officials are against it.


Source : foxnews[dot]com
Read More

IGN AU Pubcast Ep. 54: Rumbo in the Tokyo Jungle

0 comments


In this Ron Jeremy-fuelled* edition of the Pubcast, we've got a bumper crew on board to discuss the latest games and gaming news... by which we mean not discuss them, and instead rant about, well, whatever. Why you people listen to us we have no idea. But thanks. Get on board via the download link at the bottom of the page!

And possibly aroused! But mostly disgusted.

Please note that due to a microphone fault, Baker sounds kind of quiet and weird during this episode. Like, even more so than usual. Rest assured that the technical issues will be solved for next episode!

Here's what awaits you in Episode 54:

  • Wii U! There's nothing quite like the anticipation of new gaming hardware. We discuss the release date and price, and the system's prospects, all the while giggling at wee jokes as though it was still 2006
  • LittleBigPlanet Vita: it's awesome, charming and fun... but there's one significant feature missing, which bumps it from 'all the stars out of stars' to 'slightly less than all the stars out of stars' which is the Pubcast scoring system
  • Borderlands 2: spoiler alert - it's awesome! But you'd know that, because everyone's playing it. You, me, that guy over there, IGN AU's pet dolphin. How does a dolphin even hold a controller? Listen to (in no way) find out!
  • Tokyo Game Show: did anything awesome happen this year? Not really. We don't dwell on it
  • The new PS3 Super Slim, and why a 12GB model for $300 is a joke. Seriously, what's up with that, man?
  • We answer more of your questions in the Pubface Bagcast, and Jem openly begs listeners to send in more booze!

Download it today! Episode 54!

And don't forget you can check out all the previous episodes on iTunes. And hey, why not subscribe while you're there?

*It'll make sense when you hear it.


Source : feeds[dot]ign[dot]com
Read More

Dredd is Dead at the Box Office

0 comments


Audiences had no trouble with Jennifer Lawrence's curves this weekend as her first big post-Hunger Games release, House at the End of the Street, topped the domestic box office. Hot on its heels was the acclaimed cop thriller End of Watch, while Clint Eastwood's baseball drama Trouble With The Curve posted a surprisingly disappointing third place debut.

But no film had a more disappointing opening this weekend (at least for fanboys) than Dredd 3D. Those who saw the reboot by and large loved it. The problem was that no one else showed up for it. The Karl Urban/Lena Headey starrer bowed in sixth place with even less than the meager openings that had been predicted for it.

Here are the weekend estimates via Rentrak:

  1. House at the End of the Street $13 million
  2. End of Watch $13 million
  3. Trouble With The Curve $12.7 million
  4. Finding Nemo 3D $9.4 million
  5. Resident Evil: Retribution 3D $6.7 million
  6. Dredd 3D $6.3 million
  7. The Master $5 million
  8. The Possession $2.6 million
  9. Lawless $2.3 million
  10. ParaNorman $2.3 million

Listen to Keepin' It Reel to find out how we did with our box office predictions!


Source : feeds[dot]ign[dot]com
Read More

How The Walking Dead Confounds Gaming’s Gloom

0 comments


Woe and lamentations, sorrowful ululations. These are the noises coming from the doom-sayers of gaming, who point to miserable sales of boxed games as proof that we are tumbling down the slippery cobblestones paved to hell itself.

Game sales are down 20% year-on-year. Gaming has “lost” 12 million members. Wring thy hands and await apocalypse ye weeping wretches.

But hark. Rub those tear-stained cheeks. Is that the sound of champagne corks and jolly huzzahs. What devilry is this?

‘Tis none other than Telltale Games celebrating its surprising status as top of the gaming world, and not a box to be seen, not a single digit wobbled or disturbed upon NPD’s brick wall of stats.

The biggest selling boxed game in August, in the U.S, was Darksiders II, which “shifted” an okay-ish 247,000 units across all formats. New stats released to IGN by Telltale tell a, uh, different tale.

The Walking Dead, now into its third episode, managed 315K unique sales in the same month in the U.S. Note that Episode 3 launched on August 28th. Darksiders II launched on August 14th.

Globally and to date, The Walking Dead has managed 3.8 million episodes sold to over 1.2 million unique customers. It’s just a glimpse into how rapidly gamers are adopting digital as a way to buy games. When Minecraft arrived on XBL it sold a million units in five days, and another two million in the next few weeks. Borderlands 2 was launched simultaneously on PSN as in retail stores.

Although boxed sales still vastly outweigh digital sales in the console market, these trends are all great news for those of us who just can’t see the point of having things clutter up our homes, and prefer to consume our games the way we consume music and movies and messages.

Head of publishing Steven Allison told IGN, “What you're seeing is that new titles are showing signs of consumer transition to digital. Of the products that are most interesting to consumers right now, a couple of them are digital only, and not available to retail, like ourselves and possibly Minecraft. Minecraft did better than we did in the month, but I would say that Minecraft and Walking Dead did better than the rest of that NPD list. I don't know of any other digital games that can make that claim. But I think we're seeing a product transition as far as comfort. Those hardcore gamers are getting comfortable with digital, especially if it's not on store shelves.”

Telltale isn’t some mad-eyed revolutionary, thirsting for the end of boxed games. A retail version of The Walking Dead will be released after the final episode launches, and IGN has first news of the release date. Allison said, “We are currently committed to Tuesday December 4th, 2012 at retail on Xbox 360 and PlayStation 3 in North America for the first season of The Walking Dead: The Game including all five episodes. European and other territories for retail release to be confirmed.”

He adds, “Just about every medium has made the transition to digital and we're going to continue to see more growth, probably at the expense of some retail sales. But I don’t think it will be like music, where retail for music just doesn't exist anymore. It’ll probably be more like DVDs and movies, where there's a pretty significant retail footprint for movies still, even though digital is really strong. I think we'll end up, in a few years, maybe 50-50.”

This tallies with Electronic Arts’ view that digital will overtake retail in two or maybe three years time.

But buying games from digital does have its drawbacks. Browsing online retail stores can be a painful experience, a choice between living with a small number of the store’s chosen favorites, and searching for something fairly well defined in one’s mind. At the moment, buying games on PSN and XBL is painless because there are a fairly limited number of titles available. This problem is called ‘discoverability’.

For games companies the challenge is still to let you know that their games are available and that they are worth trying. This almost always costs money

Allison says, “Just because we're coming out on digital doesn't mean we're allowed to drop the need to publicize and market our game to the masses. This is where a lot of digital companies kinda fall apart. We try to take it as seriously as if we were putting a $50-million-dollar game in a box at GameStop. We work the PR hard. We get awareness high. We give people jonesing for it, and then it's our job to point them at Xbox Live or at PSN.

“We're not just hoping that when we launch, the stories about ‘What's coming out this week on PSN?’ drive it enough. The obligation to market, to drive sales, is no different than if it was at retail. It's exactly the same.”

But if the concept of selling things to people is the same, the nuts-and-bolts of doing business with people digitally are vastly different, and, according to Telltale, a whole lot better.

“That whole middleman is gone, more or less, and that's the really great thing about making content digitally. There's all kinds of costs that just go into building products, paying those licensing fees, selling it for wholesale, the retailer getting his cut, and then paying for that [in-store] marketing. That is all gone on the digital side. All our digital partners get, more or less, 30 percent of every sale. But that's it. They don't charge us for promoting it. They get 30 percent, so they like promoting things that are going to move. When you get into that relationship, it's a different dynamic. There's a lot of close collaboration. You have to work that hard as well.

“I’ve worked in this business for 15 years doing retail publishing, and I probably spent 75 percent of my time dealing with issues at retail, issues with shipping stuff, what we were doing for MDF [ads in stores]. Now I spend two percent of my time on that. It's so refreshing.”

Digital dos have its drawbacks for gamers, but it is refreshing too for those of us who don’t want to go into stores, or wait for boxes to turn up at our doorstep. This is why it’s growing so fast, while boxed sales are declining. However, that’s not the same as saying that gaming - even hardcore gaming - is dying. Not the same at all.

I write opinions on games pretty much every weekday. Recently I've been talking about DishonoredCounter-StrikeJourneySound ShapesWasteland 2Virtua Fighter and Miiverse. You can follow me on Twitter to debate and argue about games. Or IGN.


Source : feeds[dot]ign[dot]com
Read More

House at the End of the Street Review

0 comments


Coming off her recent success with The Hunger Games, Jennifer Lawrence has returned to the big screen for director Mark Tonderai's House at the End of the Street. From the very first few minutes of the film, it's clear that the young actress still has the charisma and acting chops to pull off the heart-melting whimsy of a troubled teenager. But is it enough to ignite this seemingly pedestrian slasher flick?

The story centers on Elissa (Lawrence) and her mother Sarah (Elisabeth Shue), who move to a small, upscale town in search of a fresh start. But before they've even finished unpacking, Elissa and Sarah learn the horrifying secret behind the house next door. Years earlier, a daughter killed both of her parents in the night and disappeared, leaving only her brother Ryan (Max Thieriot) as the sole survivor. Against Sarah's wishes, Elissa begins developing a friendship with Ryan, who seems to be keeping a few secrets of his own.

Obviously, the biggest selling point here is Jennifer Lawrence, and her performance is sweet and genuine; she does a great job of evoking the naivete of a rebellious daughter. Unfortunately, not even the talented Lawrence -- bless her -- can elevate this uninspired material (despite her perpetually glistening skin and flimsy white tank top). Whatever merit there is in the acting is more or less undone by the contrived and predictable storytelling.

To its credit, the film does have one decent twist that some viewers may find surprising, although a seasoned moviegoer will likely see it coming. Even the first 45 minutes or so are actually pretty decent. Elissa and Sarah share some nice scenes together early on, and the budding romance between Elissa and Ryan has its occasional sincere moments. The narrative isn't hopeless by any stretch, but its characters eventually become so stupid that you'll soon be whispering things like, "God, turn around!" or, "Seriously, don't open that door," and finally, "Ugh, you deserve to die!" As the film nears its end, you'll wonder how Elissa managed to survive the move-in, let alone how she might escape the ploys of a violent psychopath.

House at the End of the Street isn't a poorly structured film, but its bush-league scares are few and far between. Moreover, the actual dramatic aspects of the story never really culminate in anything meaningful. In fact, the more we see of the characters, the less invested we become. The initial complexity and intrigue behind Elissa and Sarah's relationship is slowly worn away until you forget why you even cared in the first place. It's unfortunate, too, because Lawrence and Shue have a pretty good chemistry together. On the plus side, in terms of story the ending isn't a total "screw you" to the audience, and there is at least some sense of closure for the characters.

At the end of the day, Tonderai's entry-level thriller isn't the worst horror film to come out in recent memory, but it's certainly nothing you haven't seen before. The movie plays on every cheap cliché and common-sense failure you can think of, and the presentation clues you into most of the surprises before they happen. Having said that, if you're a huge Jennifer Lawrence fan, I wouldn't blame you for checking it out -- she's still as endearing and sexy as ever -- but I'd suggest waiting until another one of her many other projects hits theaters before dropping coin here. (I hear Silver Linings Playbook is supposed to be pretty good.)

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love on Twitter and IGN.

The Verdict

Although Jennifer Lawrence delivers a solid performance, House at the End of the Street's amateur screenplay and transparent direction fail to keep up.


Source : feeds[dot]ign[dot]com
Read More

TGS: PlayStation Mobile Launches in October, SDK in November

0 comments


Sony has announced that PlayStation Mobile games will begin to arrive on October 3rd.

PlayStation Mobile will launch in the United States, Canada, United Kingdom, Japan, Australia, Italy, Spain, Germany and France to start, with more to follow. 30 games will be available at launch, ranging from 50 yen (approximately $0.63) to 850 yen (approximately $10.77) including tax. Titles will be developed by third party developers in addition to Sony's worldwide studios, with additional releases coming out often.

On top of that, The PlayStation Mobile Developer Program will also launch in November, allowing developers to access the PlayStation Mobile SDK (software development kit) to create their own games to distribute on the PlayStation Store for PlayStation Certified devices as well as Vita. The Developer Program will roll out in 11 countries and will be available for $99 per year.

Sony also announced that Fujitsu and Sharp will join PlayStation Certified, bringing titles to a massive amount of mobile devices worldwide, particularly in Japan. Sony will expand to additional devices in the future. During E3, it announced a partnership with HTC.

For more on PlayStation Mobile and the PlayStation Certified program, read the details Sony revealed last month.

Andrew Goldfarb is IGN’s associate news editor. Keep up with pictures of the latest food he’s been eating by following him on Twitter or IGN.


Source : feeds[dot]ign[dot]com
Read More

F1 2012 Review

0 comments


Yearly sports titles tend to face an uphill battle. While the likes of EA’s FIFA and Madden could easily get by on roster changes alone, most other games really need to prove their mettle to get punters to pony up their hard earned cash again. Yet for its third outing with the Formula One license, that’s just what Codemasters have done with F1 2012, delivering numerous small-but-notable improvements over the last two years’ offerings.

Everything starts with the young drivers test in a meticulously recreated Yas Marina Stadium and racetrack in Abu Dhabi. Taking you through everything from vehicle handling, acceleration, and breaking to the more advanced elements of the sports such as KERS and DRS, a mixture of hands on time and short instructional videos prove invaluable to those either unfamiliar with the sport or new to its digital recreations. Depending on your inherent skill, the young drivers test will take about 40 minutes to 1 hour to complete but this solid foundation in gameplay mechanics will prove time well spent. Even returning F1 players should appreciate this refresher course in basic training, as there are plenty of nuanced differences to pick up on that reflect the changes the FIA has introduced to the motorsport since F1 2011 hit shelves.

It’s just one small aspect of the game’s commitment to authenticity. Obviously, a number of recognisable drivers were practically a given – Raikonnen, Button, Hamilton, et al – but appearances by real-world team members, such as Red Bull’s team principal Christian Horner and race commentary from former F1 driver Anthony Davidson, helps craft a truly immersive experience. From the training mode onward, F1 2012 does a fantastic job of placing you in the mindset of an up-and-coming driver. Emails from agents and teammates advise you of race specifics or analyse your performance afterwards, helping put your head in the game. The tension, the weight of expectation of your colleagues, almost feels palpable, all creating a determination on your part to improve.

Improvement is something you’ll have to work hard for though, and rarely does a game make you fight so hard for a fraction of a second’s performance on a lap time. The overall difficulty could be placed somewhere between the brutal F1 2011 and the challenging F1 2010.

Improvement is something you’ll have to work hard for though, and rarely does a game make you fight so hard for a fraction of a second’s performance on a lap time. The overall difficulty could be placed somewhere between the brutal F1 2011 and the challenging F1 2010 – not easy then. With even minute deviations from the track resulting in time penalties or outright disqualification, learning to control the cars properly will be your number one priority. Given just how specific the game’s demands are though, there’s temptation to become over-reliant on Codemaster’s trademarked Flashback feature; zooming backwards to take one more pass at an awkward hairpin or avoid a collision. As such, it can become difficult to gauge any sense of genuinely improved performance.

Throughout the game, vehicle handling proves simultaneously precise and punishing. Veering onto the grass causes the green stuff to accumulate on your wheels, adding a perceptible slide and minimises traction, while deploying KERS (strip back the complexity of the rules and it’s a horsepower-boosting equivalent to a speed power-up in lesser titles) affects your braking times and accuracy as a side-effect of its eye-watering forward momentum.

Thankfully, with a range of braking assists, traction control and a racing guideline available, F1 2012 remains accessible for newcomers who want something perhaps closer to a typical racing game but still serving as an entry point to the sport. Ramp the difficulty up though, and every turn of the car, every gear change, and even aspects of pit time are your responsibility. That responsibility is even felt prior to races, with your car’s customisations – best tires, engine optimisations, fuel types – largely determining victory before you’ve even hit the tarmac. It’s more to learn and can feel frustrating if you just want to jump into a game, but the results really pay off once you know what you’re doing.

Moving into the main game content, the Proving Grounds area feels closest to an Arcade mode and is likely to be where more casual players spend a lot of their time. Champions Mode offers a selection of six challenges seeing you outwit and out-race some of the biggest names in the sport, and is immediately more accessible than the career or even the quick play modes. The difficulty curve on these is blistering though, and as you put yourself through races spotlighting Formula One’s finest, you'll find yourself having to put every speck of training you've gathered from elsewhere in the game to its utmost use. Proving Grounds is also where you will find the Time attack and Time Trial modes, the former seeing you attempting to set speed records on some of the world’s top racetracks, the latter testing your racing skills against the demands of international race teams.

The difficulty curve on these is blistering though, and as you put yourself through races spotlighting Formula One’s finest, you'll find yourself having to put every speck of training you've gathered from elsewhere in the game to its utmost use.

While these more casual modes allow you free reign to select racing team and cars, the full Career Mode instead sees you racing up the league tables, beginning with a lower tier team before your successes earn you promotion after promotion. Impress the global press and industry observers and you’ll attract contract offers from more prestigious teams, your choices of which to accept affecting progression. It’s a lengthy outing, though the new Season Challenge mode allows a more relaxed approach, still putting you through the paces of a competitive chain of races but proving less of a time demand than your full career.

In addition to expected online multiplayer, split-screen and LAN options make welcome appearances. With no noticeable decline in frame rates or overall visual quality in split screen, the chance for some deliciously tense competition with your real-world mates is one to be relished.

Visually, the improvements in F1 2012 are harder to spot – 2011 already looked amazing. Most notable is a refined weather system, where rain can, and frequently will, sweep across a track during weekend-long events. Storm clouds are visible from a distance, and the look of the track as it gets soaked is perceptible. Best of all, this forces a gameplay change, as you’ll need to switch out tires to continue at optimum efficiency. Racetracks new and old – the main attraction being the Circuit of the Americas in Austin, Texas, hosting this year’s US Grand Prix – are authentically modelled, each delivering a unique atmosphere and, as with last year’s entry, there’s a brilliant soundtrack to accompany you.

Essentially, if you enjoyed F1 2011, there’s more than enough here to keep your attention: everything that was great last year returns, with enough tweaks and improvements to warrant a return. Newcomers will find F1 2012 a shock to the system compared to more conventional racing games, but the ample tools provided to get into the sport provide a gratifying experience with just a little bit of commitment on the player’s part.


Source : feeds[dot]ign[dot]com
Read More