By Anonymous on Jun 24, 2015 12:22 am
Call of Duty: Advanced Warfare's arsenal cannot get any bigger, at least on last-generation consoles. In a post on its website, developer Sledgehammer Games explained that the Xbox 360 and PlayStation 3 versions of its game have hit a "hard memory limit," prohibiting the developer from adding new weaponry. The explanation came in response to fans asking for more guns on those platforms.  The studio is planning on making the weapons in question available on Xbox One, PlayStation 4, and PC, so last-gen players were understandably wondering whether they'd get them, as well. But Sledgehammer head Michael Condry wrote that even though the developer has promised platform parity, the last-gen versions simply do not have enough memory available. "Many of you have asked about [the guns] coming to prior-gen consoles," he said. "Since launch, we've been committed to delivering a seamless experience between the two console generations and PC. We have hit a hard memory limit on last-generation consoles. This memory limit prevents us from adding more weapons to those platforms. We don't like it any more than you, because we care about Advanced Warfare players on all platforms, but it's a limitation that is outside of our control." In spite of the hardware limitations, Sledgehammer still plans on releasing the next DLC pack for last-gen consoles. Additionally, Treyarch has announced the upcoming Call of Duty: Black Ops 3 for last-gen as well, indicating that Call of Duty still has life left on the Xbox 360 and PS3.
By Anonymous on Jun 24, 2015 12:21 am
Rainbow Six fans who are particularly excited for the series' return can pick up the newly announced Collector's Edition for Siege, which includes a mix of digital content and physical items. Ubisoft revealed the contents of the CE today, which will be available for the PC, Xbox One, and PS4 versions of the game. You'll get the game itself, the season pass, a backpack, and more. The full list follows, courtesy of Ubisoft: - Rainbow Six: Siege Standard Edition
- Season Pass
- Steelbox -- Designed exclusively for the Collector's Edition
- CTU Operators Hat -- Flat-brim snapback hat
- Compass Carabiner -- Black and gray carabiner with a compass and bottle opener
- Operator Backpack -- Military-style backpack with a padded laptop pocket. Comes with seven Operator badges that attach to the sides of the backpack with Velcro.
- Art of the Siege Tactical Guide -- Exclusive 120-page guide
The tactical guide sounds as if it's essentially a strategy guide; it offer a mix of information on the game's maps, weapons, and characters.  This package costs $150 and is, curiously, only available through Ubisoft's online store. (In the case of the PC version, you'll be limited to getting the digital version of the game.) Other retailers will only offer the $60 game itself and the $90 Gold Edition, which consists of the game and the season pass. As we've heard previously, preordering any version of the game guarantees you access to a beta test planned to take place in September, just prior to the full release on October 13. For more on Siege and the returning Terrorist Hunt mode, check out our E3 impressions.
By Anonymous on Jun 23, 2015 11:21 pm
Batman: Arkham Knight launched today along with the guide from Brady Games. Unfortunately, the guide didn't get the title of the game right.  In the image above, taken at our local GameStop, you might notice a problem with the word "knight." However, the printer did get the more complicated "Arkham" just fine. While not as egregious as getting something wrong on the actual game case, like Driveclub did last year, it's one of those things that's hard to unsee once you've noticed it. For even more Batman: Arkham Knight, you can check out our roundup of reviews from across the Internet right here.
By Anonymous on Jun 23, 2015 10:39 pm
 Watch extended gameplay footage from Batman: Arkham Knight featuring the Giant Bomb crew.
By Anonymous on Jun 23, 2015 10:39 pm
Tales from the Borderlands' third episode, Catch a Ride, is its best yet. Its cold open--a frantic action sequence that kicks off seconds after the previous episode's ending--sets the bar for drama high and never falls from it during its two-hour run. The best thing about Episode Three is that it is essentially two vastly different games. The final choice you made in Episode Two, Atlas Mugged, has a profound effect on what happens throughout the entirety of Episode Three. Your narrative path is determined by a decision made in desperation as all enemies closed in on Fiona and Rhys in Atlas Mugged's last minute, and that choice will set you on a path that follows either Fiona or Rhys more closely. Other characters caught in the crossfire will undergo significantly different changes as well--it's hard to discuss this without spoilers, so pardon the vague terms--which in turn also affect just how screwed you are as you go about your mission. After making your last decision in Episode Two, you can play through the entirety of Episode Three without seeing half of what the episode has to offer. So if you want to see both narrative paths and experience every possible outcome, you'll have to play the episode twice following two distinctly different decisions. It's a little confusing, and a lot of time to invest, but it's time well spent; Catch a Ride's two versions offer their own memorable moments and bits of hilarity, so it's worth the second playthrough. An unlikely pairing.Catch a Ride calls back to previous episodes in meaningful ways, deepening the story and giving players headspace for some serious theory crafting. Remember Felix, Fiona and Sasha's wheeling and dealing adopted father? His story comes into play in a big way in Episode Three, turning everything the two girls thought they knew upside down and making their trials in Vault hunting more emotional than physical. As the sisters struggle to come to terms with this new information and babysit the boys (because let's be honest, they are in charge here), Rhys is grappling with his own ever-growing problem--the literal voice is his head. Again, depending on your choices, the ghost of Handsome Jack is either chomping at the bit for more control of Rhys' body or has completely convinced the guy to trust his guidance. Both of these tracks present some incredibly tense scenes between the two, and the growing idea of Jack's ghost as a legit threat adds more anxiety to an already thrilling narrative. This isn't the first time Telltale's versatility in presenting varied narrative options has really shone through in Tales from the Borderlands, but it is perhaps the ultimate example of what they can do. Tales' branching story fully handed you the reigns for Episode One, and the challenge back then was maintaining that surrender to players for four more episodes. Episode Three is a strong example of how much control you actually have on this story, which is a lot; it's surprising and delightful to navigate certain social situations and be reminded that this is, at the end of the day, your story. Fiona and Rhys may misremember or exaggerate what happened, but it's you who gets to decide what is truth. And when the credits roll, going back to try the episode again with different choices results is such a different entertaining experience, it's hard not to want things both ways. He's definitely the beta.Narrative variety aside, notable elements of Episode Three include the addition of new characters and expanding roles of existing ones. Vault Hunter Athena steps into a much larger role, and her presence feels completely natural among Telltale's new heroes. My favorite moment in the episode is a conversation between her and Fiona about what it means to be a Vault Hunter, with Fiona doubting her own abilities and Athena insisting it's not about power--it's about being able to think on your feet. This brief moment of real talk is a humanizing moment for Athena and a wake-up call for Fiona. It's the sweetest moment in the series so far, and one that reaches out to not just Fiona, but you as the player and consumer of the Borderlands universe. Ashley Johnson's character also makes her debut in Catch a Ride as what is perhaps the world's cutest robot. Her performance is astounding, adding another layer to the headache Rhys and Fiona are dealing with and another mouth to spout hilarious dialogue. Johnson's character has the best one-liners of the episode, and I definitely snort-laughed a few times during her scenes. Tales of the Borderlands shines in the little things, its moment-to-moment drama and humor consistently on point. Every exploration sequence is populated with curiosities to examine and conversations that shape the world in big ways. Action sequences move quickly and keep your heart pounding; like in the original Borderlands games, you need to catch up and run with the big boys or die gruesomely. Each second spent in its world teaches you something about the characters you're shepherding and the Borderlands universe at large. Episode Three is definitely the best we've seen of this series so far.
By Anonymous on Jun 23, 2015 10:35 pm
A new patch for The Evil Within allows players to do away with what a number of fans have been complaining about since launch: letterboxing. Up until now, The Evil Within had to be played with a 2:35:1 aspect ratio. What this meant is that you're playing the game with black bars at the top and bottom of the screen, similar to when you watch a movie in its native resolution. While this lends the experience a somewhat cinematic feel, many wished there were a way to disable the effect and play the game in fullscreen.  Following the release of a new patch today, letterboxing has finally become an option. Bethesda announced the latest patch allows you to do away with letterboxing and rebalances the Casual difficulty setting, promising more ammo and some kind of "adjustments to the game's health bar." PC players were already able to play in fullscreen, first with a console command and then with a proper option in the settings menu. But up until now, console players were forced into the letterbox experience whether they liked it or not. Bethesda explained last year that the unusual (for a game) aspect ratio is "used for gameplay purposes, as certain elements display in the black areas of the screen." Developer Tango Gameworks also imposed a 30 frames per second cap on the game's framerate. This, too, was something that ultimately became an option in the PC version, though Bethesda describes the 30fps/letterbox setup as the way The Evil Within is meant to be played. The patch tweaking difficulty and offering a fullscreen option is now available on Xbox One, PlayStation 4, Xbox 360, PlayStation 3, and PC.
By Anonymous on Jun 23, 2015 10:31 pm
Playing games is fun, relaxing, and it can even be educational--but it's usually not exercise. In a new study, almost a quarter of children polled believe otherwise. The recently published Youth Sports Trust report found that a surprisingly large number of kids think that playing a video game with a friend counts as "being active." The study polled 1,000 children between the ages of 5 and 16. Kids between 7 and 8 years old were most likely to believe this at 31%, while those between 15 and 16 were least likely at only 15%.  The British organization also found that a third of all respondents interact with friends more on social media than in the real world. On the bright side, the study found that 75% of children still enjoy physical education classes. Ultimately, the study concluded that the integration of technology with children's lives cannot be stopped, and it's important to find a way to combine tech and games with exercise. Hopefully, many kids play Wii Sports or Just Dance, games that actually do get players active. Did you ever consider gaming to be a physical activity when you were a kid? Let us know in the comments.
By Anonymous on Jun 23, 2015 06:30 pm
 Check out this new gameplay trailer for Blade and Soul.
By Anonymous on Jun 23, 2015 12:31 pm
Devil May Cry 4 is excessive by design, from the mammoth swords to the boss battles rooted in elegant mayhem. The action can feel like a firework show that spurns a nuanced routine for a non-stop, thirty-minute finale, and there's a certain charm to this bravado. But the excessiveness takes away just as much as it gives. The structure of the extended campaign works against its own momentum, forcing you to retread recently explored locations and battle all-too-familiar enemies over and over again. While this Special Edition provides slight combat tweaks and additional characters to toy with, there's just not enough mechanical or architectural variation to justify the fluff. As a result, the endless combat rooms and recycled scenarios can be exhausting. The re-progression is thematically justified by a character swap, giving you at least some reason to remain engaged during this slog. You spend the majority of Devil May Cry 4 with Nero, a silver-haired, sardonic punk whose emotions swing from caustic rage to lovesick sweetness at the drop of a sword. He's a suitable protagonist for the series, with enough emotional intrigue to carry the early portions of the story, but the eventual shift to Dante is welcomed. Collecting new weapons and experimenting with his unique combat stances spices up the action, and his comically blasé attitude toward towering demons hurling fire, ice, and everything in between adds an additional layer of absurdity to this ballet of angels and demons. It's just a shame that Dante is left with so little meat to pick off the bone, being relegated to retracing Nero's steps. The Devil Bringer can transform even the toughest of foes into pretty blue explosions of light.The most significant change introduced by the Special Edition is the inclusion of three additional characters: Lady, Trish, and Vergil. The fresh cast is playable from the start, and thankfully, each member provides a much-needed layer of combat variation absent from the original release. Lady's proclivity for projectiles punches up your offense at range, allowing you to more easily dust airborne foes and wipe out large groups with a single, charged missile. Trish and Vergil aren't as unorthodox in their play styles, but both benefit from swift hypersonic attacks that help you smoothly transition from demon to demon. Vergil, especially, can quickly jump from place to place and easily build upon a string of combos without having to waste time walking to a new target. Devil May Cry 4 is deeply flawed, but the new 1080p, 60 frames-per-second wrapping provided by the Special Edition does well to modernize the aesthetic while maintaining the series' blistering speed. The action rarely skips a beat--even when a sea of enemies floods the screen--and while you might not mistake it for a brand-new 2015 release, the characters and environments just look cleaner. The uproariously extravagant cutscenes, where you'll find Dante and Nero elegantly sliding under deadly projectiles or bouncing away from massive demons with aplomb, benefit the most from the improved visual fidelity.  Nero is like a younger, moodier version of Dante.But like a stubborn wine stain, the repetition so deeply rooted in Devil May Cry 4's fabric can't be easily washed out. The additional characters replace Nero and Dante in the same scenarios, so you're still playing through identical missions you're likely already tired of. Starting the game over with a different character only highlights the lack of unique locations, so once the initial wonder of Vergil's lightning-quick technique and Lady's devastating grenade launcher wears off, there's not much left to enjoy. You can avoid replaying the main missions by instead testing out each character's abilities in the Bloody Palace, which is a series of combat challenges where the deeper you descend, the more difficult the enemies become. However, Devil May Cry 4 can already feel like a combat gauntlet, so stripping out the story, puzzles, and exploration doesn't do it any favors. It's nice to have more options, but the Special Edition's prevailing new features are hampered by the nature of its main adventure. The series of events is both interesting and challenging the first time around, at least--even if they're weighed down by too many back-to-back combat sequences. Nero's combo-driven sword-play is bolstered by his pistols and wonderfully versatile Devil Bringer--a demonic arm that acts as both a quick means of transportation and a powerful melee option. Beyond its practical use, the Devil Bringer gives you greater opportunity to increase your style gauge and extend combos to great lengths. By diversifying your attacks, you can earn more points and, most importantly, complete a combat scenario in the most surgical, exciting ways possible. Like a stubborn wine stain, the repetition so deeply rooted in Devil May Cry 4's fabric can't be easily washed out.
You can grab, pull, and pound enemies into the dirt through Nero's glowing grip, but the manner by which this arm translates to platforming and puzzle solving is more frustrating than fun. Devil May Cry 4 provides very limited camera control, and shifting perspectives often obfuscate your view as you use your arm to grapple from point to point. It can be difficult to determine your position, let alone time a jump or push certain objects to unlock doors with such a restrictive, jarring point of view. If you're a seasoned demon hunter, the Special Edition does provide a new, punishing difficulty called Legendary Dark Knight Mode. Here, a greater number and variety of enemies spawn at any given time--creating more opportunities to string together stylish combos, but a higher probability of becoming overwhelmed. Thankfully, the points and skills accrued over time carry over, so some of the difficulty's edge can be dulled by tackling this hellish challenge on a second playthrough. However, no matter how skilled you become, the boss battles here can be ruthless, so even fully decked-out characters can fall after a few mistimed dodges. The boss battles are beautiful, but sadly, you'll have to see each of them three times. The visual improvements and additional characters layered atop the Devil May Cry 4 Special Edition can't conceal its bloated structure. This is, without a doubt, the best this stylish action romp has looked and felt, but just because you can gussy up an old game, doesn't always mean that you should. If you're dying to see how Vergil fares against the Order of the Sword or feel the need to test the extreme difficulty, take the leap. Just be warned that some aspects of the game would have been better left in the past.
By Anonymous on Jun 23, 2015 06:06 am
Unlike other massively multiplayer games, Wander does not begin with you tuning sliders and picking palettes to create a character or accepting a fetch quest from a non-player character, because neither of those options exist. Nor do you have to kill ten of X, because combat or creatures are nowhere to be found. The only to-do list is the list of achievements, most of which read like chores. Wander focuses on exploration and wants to be a refreshing new contender, yet it's nothing more than a glitchy, boring mess. Instead of embracing the aforementioned genre standbys, Wander starts you off playing as a humanoid tree creature known as an Oren. This Tolkien-inspired being moves around the island at a grueling pace trying to find a transformation stone as soon as possible. The forest floor only has a few paths at the beginning, yet you can still find a dead end, requiring you to backtrack at the speed of a turtle. The game, whose sole purpose is exploration, penalizes you for doing just that in the first five minutes. Exploring as an Oren can be difficult when the form takes up a third of the screen.Once finding the stone in a nearby cave, the Oren shrinks and becomes a Hira: a nimble figure with fins that act as a wingsuit. Once you transform, there's no reason to even think about returning to your prior ineffective form. However, shortly after freeing myself from the Oren's fetters, the game crashed, and I knew this would be an unpleasant walkabout. As a Hira, you can glide like an ice skater, walk under water, stop time, and burrow through earth. Oh wait--those are movement glitches, bugs, not features. The graphics are another imperfection. Although it was made with CryEngine, Wander looks like an extension of Playstation Home. Textures are flat and dull, if they even load at all. Trees and vegetation flicker in and out of existence as they sway in the coastal breeze. Ponds vanish, and you swim through the air and on dry beds of rock. The plants farther down the road are identical to the ones that came before, and my eyes glazed over scanning the thick brush for something unique or captivating. Each summited outcropping teases a view of a breathtaking landscape, but disappointment sinks in every time. The Hira is a marooned sailor destined to die from monotony on an island prison. Here is the Hira sporting a trendy skirt made from stone.Wander's narrative is supplied via lore stones, which are similar to the audio logs found in games like Bioshock. These rocks provide meaningless blurbs discussing flora and fauna rather than any actual story or plot. After finding the first lore stone, the map room is unlocked. In this cave, you can also switch between four different forms, such as an aquatic lizard or a flying griffin, at will. However, the relief map itself is useless without a "You Are Here" marker. In addition to the lore and transformation stones, pillars give the gift of speech. Each found stone lets players speak necessary words, like "hello," and extremely specific terms that you will never need to utter, like "thermal." You say sentences by drawing the corresponding glyph on the DualShock's touchpad and hoping the gods accept your handwriting. Chances are they won't. Thankfully, there's an alternative method, but it requires cycling through each individual gleaned word on the D-pad. Then, when the controller is idling on the coffee table, random words will sound without any input--not to mention, the same tutorial for the Rozhda language system plays, even if it's your tenth time finding a glyph. The touchpad is also used to summon fireflies, but they never heeded my call, so I can only guess at their function. Luckily, I didn't find any chatty players, so I was never forced to piece together a fragmented phrase from an obtuse mechanic. The Azertash makes aquatic navigation easier, yet without a dedicated dive button I wouldn't recommend heading to the ocean floor.The only respite provided in Wander is the lovely soundtrack composed by Benjamin Woodgates. The soothing vocals contrast with the grating gameplay and give life to the vacant land. However, the music rarely plays, and most sounds that graced my ears were the chirping of invisible wildlife. Otherwise, Wander is a sandbox constructed from rotted wood that lacks toys. Without character customization or any semblance of proper communication, the game has nothing to offer in place of its sacrifices. Like Sisyphus on a treadmill, I fruitlessly walked around in hopes of discovering something worthwhile. Unless this game can find its way, discovery will remain a lost cause.
By Anonymous on Jun 23, 2015 05:57 am
 Danny sits down with the Kinda Funny crew to discuss which big publisher / developer won this year's E3.
By Anonymous on Jun 23, 2015 03:24 am
Adam Jensen is back
The protagonist from 2011's Human Revolution will return after the tragic events of the Aug Incident. Adam Jensen is now on a mission to find augmented terrorists. (Photo by: Square Enix)
Augmented Humans Turned Terrorists
Adam Jensen is enlisted by the Interpol-funded Task Force 29 to investigate and halt terrorist operations by augmented humans. (Photo by: Square Enix)
Adam Jensen: Double Agent
Despite his work to stop augmented terrorists, Adam Jensen is working as a covert double agent. Jensen will split his time in Mankind Divided between Task Force 29 and a hacker group called Juggernaut Collective. (Photo by: Square Enix)
The City of Golem
Adam Jensen's work for Task Force 29 will lead him to the transhuman town Golem City. He's in search of the leader of the Augmented Rights Coalition, who Jensen believes could be behind recent terrorist attacks. (Photo by: Square Enix)
Your Choices Are Felt Throughout Mankind Divided
Like the previous Deus Ex installments, how Adam Jensen decides to make crucial choices will ultimately impact how the game's story unfolds. (Photo by: Square Enix)
New upgrades and augmentations
With a new entry into the series, there's bound to be upgrades for Adam Jensen. In his repertoire, Jensen will be able to detach his arms, to use as deadly projectiles, and create a nanoshield. (Photo by: Square Enix)
It's Set Two Years After Human Revolution
Although Human Revolution was released in 2011, the events of Mankind Divided will take place in 2029, two years after the events of the previous game. (Photo by: Square Enix)
Women Will Finally Be In Combat Roles
Women have only been featured in a social role in Deus Ex, but that's all about to change. In Mankind Divided, female soldiers will be on the front lines. (Photo by: Square Enix)
There's a "Mechanical Apartheid"
Following the Aug Incident in Human Revolution, augmented humans are feared and portrayed as terrorists. The game's developer described the atmosphere of the game as a "Mechanical Apartheid." (Photo by: Square Enix)
Hacking Is Expanded
Adam Jensen will once again be able to use his hacking ability in Mankind Divided. However, Jensen's computer-breaching skill is receiving an upgrade. He'll now be able to hack remotely. (Photo by: Square Enix)
By Anonymous on Jun 23, 2015 03:23 am
Bethesda Deserves its Own Press Conference
2015 was the first year Bethesda held a dedicated E3 press conference, and it's safe to say they knocked it out of the park. Between Fallout 4, Doom, and Dishonored 2, the company showcased terrific footage for its new lineup, and above all, focused purely on games. Sony, Microsoft, and Nintendo could learn a new trick or two from them.
Microsoft Continues to Rely on Halo and Gears of War
The military shooter remains the centerpiece of Microsoft's console strategy. Like clockwork, you can count on a Halo or Gears title to appear at E3, and both Halo 5: Guardians and Gear of War 4 had strong showings this year, proving that Microsoft's mainstays still attract massive audiences.
Nintendo Debuts Cool Puppets
Nintendo had several cool titles on display at E3, including Super Mario Maker and Star Fox Zero, but most of their big games had already been announced a year ago. But don't count them out yet, though. Nintendo has always had sporadic E3 appearances, often hiding great games for late year surprises.
Sony Banks on Nostalgia and Thrills its Hardcore Supporters
For years, fans have been clamoring for a new Shenmue game and an HD remake of Final Fantasy VII. These games often felt more like wistful daydreams than realistic requests, which helps explain the fervor when Sony actually announced both projects this year at its press conference. Both games are largely goodwill gestures, showing that Sony and Square Enix care about their most dedicated fans. (Photo: Corbis)
VR Spends Another Year in Gestation
It was no contest: some of the longest lines at E3 this year were for hands-on demos of Sony's Project Morpheus and the Oculus Rift. Both companies had a variety of intriguing games on display, but they seem to be playing a game of chicken, hoping to perfect the technology before either one pushes for a mass release. In years past we were told 2015 would be a big year for VR. Unfortunately, it looks like yet another year will pass before the public at large gets to experience it. (Photo: Corbis)
Star Wars: Battlefront is Beautiful
It's been a long time since we had a Star Wars game that takes the lead in delivering cutting edge tech. After the cancellation of the ambitious Star Wars 1313, Battlefront has stepped up to the plate with an incredible demo at E3 featuring a 20 vs 20 Walker Assault on Hoth. With visuals that border on photo realistic, Battlefront may be just as exciting as this year's upcoming film sequel. (Photo: Electronic Arts)
Mass Effect Makes a Comeback
In spite of an anti-climactic ending to Mass Effect 3 which sparked a fan backlash, the Mass Effect series remains revered for its thrilling space opera action. After a small glimpse at the exciting sequel set on new planets with new characters, we're already prepared to forgive past sins. If Dragon Age Inquisition is any indication of the scope BioWare has planned for the new Mass Effect, we're in for a hell of a ride. (Photo: Electronic Arts)
Street Fighter Still Packs A Wallop
After the success of Street Fighter IV, Capcom hopes to keep the fighting flame alive. Street Fighter V was everywhere at E3, with players camped out in front of demos to rotate in for a few rounds. The game feels great to play, maintaining the crunchy combat of the last Street Fighter but with a new level of technical sophistication that should lead to deep and varied strategies when mastered. (Photo: Capcom)
The Last Guardian Rises From The Grave
After seven years of protracted development, many had given up on The Last Guardian ever seeing the light of day. The follow up to the massively influential arthouse hits Ico and Shadow of the Colossus finally emerged this year. This year's new footage had a slow, contemplative pace that felt out of place among the high-octane action hits surrounding it on the show floor, but it still held enough promise for us to welcome its understated return. (Photo: Sony)
Microsoft Capitalizes on the Past
Of the three big console developers, Microsoft typically does less to celebrate its past than the competition. This year, however, Microsoft announced Xbox One backward compatibility for 360 and XBLA games. Battletoads creators Rare also showed off a giant collection of its classic games coming to the Xbox One. In one fell swoop, Microsoft has delivered a robust catalogue of gaming history.
Sony Seeks New Horizons
While it's always great when game companies keep tradition alive with our favorite franchises, it's nice to see them explore new directions too. One of the most talked about games at E3 this year was Sony's new game Horizon: Zero Dawn, featuring a red-headed huntress taking down gigantic robotic dinosaurs with style. (Photo: Sony)
Pokemon Developer Make a New Game, and It's Not for Nintendo
A small hidden gem at this year's E3 was the new game from Pokemon developers Game Freak. Tembo The Badass Elephant plays like a colorful mashup of Sonic the Hedgehog and the rhino stages from Donkey Kong Country. Surprisingly, the action platformer is coming to PC, PS4 and Xbox this summer, with no plans for a Nintendo release. We wonder if Game Freak will finally spread its wings after decades of Pokemon production. (Photo: Sega)
Uncharted 4 Has Some Surprises Up Its Sleeve
After recent gameplay footage slightly underwhelmed, Uncharted 4 had a lot to live up to at this year's E3. Boy, did it ever deliver. In addition to a stunning chase sequence shown off at Sony's press conference, an extended show floor demo kicked up the excitement even more. If you were impressed by any of Uncharted 2 and 3's epic set pieces, prepare to be amazed.
Artsy Parkour Game Mirror's Edge Catalyst Generates Buzz
It's surprising we're actually getting a follow up to Mirror's Edge, a sleeper hit from seven years ago that featured pacifist roof-top running across a colorful cityscape. Even more surprising is how popular the new game was at E3, with 3 hour lines curving around EA's booth just for a glimpse at the game's futurustic open world. (Photo: Electronic Arts)
Nintendo Releases a Lost Classic
In many ways, this year's E3 was dominated by the resurrection of projects many had written off. Nintendo's contribution towards this trend was a translated, but never released until now, NES prequel to the cult classic Earthbound. If that sounds obscure, it's because it is. While this small release won't make the company a lot of money, it will definitely engender goodwill from patient fans. (Photo: Nintendo)
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