By Anonymous on Mar 19, 2015 11:41 pm
From Software's Bloodborne releases exclusively on PlayStation 4 next week, and Sony feels its importance to the system is "invaluable." Discussing Sony's plans for marketing the game, PlayStation UK product manager Joe Palmer told MCV (via VideoGamer) that highlighting the similarities--and differences--between Bloodborne and From's other major series, Dark Souls, is key. "[T]he Souls games are phenomenally popular, so ensuring that fans are aware of the common ground they share with Bloodborne is a vital part of our strategy," Palmer explained. "However, it's not just the similarities with previous From Software games that we want to communicate," he said. "How Bloodborne differs from the Souls series will be at the forefront of our communications. "Bloodborne provides a great chance for us to tap into a highly engaged audience and provide an invaluable contribution to PS4." Sony's latest console hasn't had a huge number of triple-A exclusives as of late; February's The Order: 1886 was the first such game in some time, although its critical reception likely wasn't what Sony hoped for. What was expected to be perhaps the system's biggest PS4 exclusive of the year, Uncharted 4, was recently pushed back until 2016. E3 is now just over two months away, so it's possible we could be hearing about some kind of replacement for the game before long.. Bloodborne launches in North America next Tuesday, March 24. If you're a fan of difficulty, its New Game Plus option should be right up your alley. And if you both live in Denmark and are willing to donate blood, you can pick up a copy for free.
By Anonymous on Mar 19, 2015 11:10 pm
A fallout between Kojima Productions and its owning publisher, Konami, has led to senior staff at the studio being restricted access to corporate internet, emails, and phone, GameSpot understands. Along with the restricted communications, key developers at the studio, such as Hideo Kojima, will now have limited opportunities to lend their appearance to promotions of the studio's upcoming game, Metal Gear Solid 5: The Phantom Pain. Power struggles between Kojima Productions and Konami have convinced the publisher to make drastic changes, including amending the employee status of its Metal Gear team. Some senior staff at the studio, including Kojima, now essentially work as contractors, not permanent employees. The extraordinary measures were revealed by a source within the studio, speaking to GameSpot on the condition of anonymity. The person explained that, once the Phantom Pain project is finished, in all likelihood the management at the studio will disband. "After we finish MGSV, Mr. Kojima and upper management will leave Konami. They said their contract ends in December," the source claimed. The person added: "At a team meeting, Mr Kojima explained that team have to be one and make a good game for fans." In other developments, Konami has begun removing the Kojima Productions logo from all official Metal Gear art, and it has removed Kojima from its executive team. Meanwhile, Kojima Productions' branding has also been removed from Twitter, the official Metal Gear website, and even the LA office listing. Representatives for Konami would not discuss specifics of the matter when contacted by GameSpot. The corporation has offered a statement, however. It reads: "Konami Digital Entertainment, including Mr. Kojima, will continue to develop and support Metal Gear products. Please look forward to future announcements." The corporation's public relations team, based in Tokyo, is unavailable at the time of going to press, due to it being past midnight local time. Metal Gear Solid 5, Kojima's latest iteration in the famed series, ships in September on PlayStation 4, PlayStation 3, Xbox 360, Xbox One, and PC. An expanded statement from Konami follows: "As we have already announced, we are shifting our production structure to a headquarters-controlled system, in order to establish a steadfast operating base capable of responding to the rapid market changes that surround our digital entertainment business. Konami Digital Entertainment (including Mr. Kojima), will continue to develop and support Metal Gear products. Please look forward to future announcements."
By Anonymous on Mar 19, 2015 11:05 pm
Robot Roller-Derby Disco Dodgeball is a fast and lively arcade playground, marinated in neon shades and seared by the hottest techno tunes. The lights pulsate as the bass bumps, the colors shift as the action swells, and, somehow, your movement seems to synchronize with the chaos painting the map. This competitive PC arena experience is teeming with character, but with its overly loose controls and absence of meaningful progression, the game pushes its style over its substance. Like disco itself, the enjoyment provided by Disco Dodgeball's vibrant walls is fleeting, fading like a fad forgotten not long after its initial boom. It fails to make a lasting impression, but that doesn't stop the action from being gripping and entertaining early on. Robots roll on a single wheel up and down the various maps--resembling dance floors with their vivacious lights--while explosive dodge balls whizz by your head. Power-ups transform your projectiles into boomerangs and provide jetpacks mid-round, so it's critical to keep your eyes on both the position of your opposition and these enhancements. Blasting opponents out of the air or pelting an unsuspecting robot with a ricocheted ball is supremely satisfying, but learning how and when to take a shot isn't easy. You're riding on a wheel against a surface providing little friction, so everyone on the dance floor continues to roll long after letting off the gas. Balls arc downward after being thrown and bounce off walls in often unexpected ways, so it takes a great deal of practice to understand how, when, and where to take a shot with so many variables at play. If it weren't for the explosive dodge balls, I'd totally chill at this club. Multiplayer games are player-hosted, so a high ping can result in robots flying from one end of the screen to the other as if hurled from a catapult; as a result, the already fast movement speed--which is only enhanced by a rechargeable boost--can be a little too sporadic to account for. There's nothing wrong with combat that takes time to master, but even after hours of play, I never felt fully comfortable with the direction of my explosive shots. Thankfully, there's more to Disco Dodgeball than just throwing and catching balls. Beyond the classic Elimination and Deathmatch options, modes like Hoops and Grand Prix offer unique, interesting ways of playing with the mechanics. Hoops forces you to focus on fitting a specific ball through a square goal in order to score points for your team, while Grand Prix transforms the map into a speedway of sorts. Instead of using your momentum to dodge oncoming action, you must barrel through checkpoints as you race against the competition. Catching and throwing balls always remains a significant piece of the puzzle, but these various mechanical alterations allow for much greater in-game creativity that what the standard rules supply. Most servers lean toward the classic modes, but mixing up the rules within a room full of competent bots is always an option. The different game modes provide creative ways to explore the physics. Determining the arc of a throw is tricky, even after a lot of practice. Once the early wonder starts to wear off, though, what's left is a fun curiosity with hooks too dull to pierce the skin. There's single-player content, including Arcade, Horde, Training, and a handful of other solo affairs, but the real appeal here is the competitive play. Leaderboards and the ability to level up provide some incentive to come back, but other than basic robot customization, the actual tangible rewards for continuing to play the game are weak. Without a true sense of progression, Disco Dodgeball doesn't do much to pull you back onto its thumping dance floors. When the connection is strong, the balls are bouncing as you intend, and there are enough players to populate the servers, Robot Roller-Derby Disco Dodgeball is a treat. The audiovisual package superbly complements the wall-to-wall mayhem found within a competitive round, and there's a healthy suite of modes to mix up the action. There's just not enough staying power, and controls that are a few notches too loose make it difficult to determine a shot's trajectory. Disco Dodgeball is a creative player in a crowded space, but lacks too many attributes to stand out.
By Anonymous on Mar 19, 2015 11:00 pm
Electronic Arts will offer more details about Star Wars: Battlefront next month during the Star Wars Celebration in Anaheim, California. This isn't altogether surprising, as EA's name showed up on the show's schedule earlier this week. At the time, EA wouldn't say why it was attending the event. Now we know. The Star Wars Celebration takes place April 16-19, though in its announcement today, EA did not say which day of the show it plans to unleash the Battlefront details. "We could not think of a better or more appropriate place to debut the game officially for the first time than the premier event that celebrates the Star Wars universe and the legions of fans who have fallen in love with it," EA said. Apart from a brief teaser trailer (above) that showed early in-game footage, EA has kept quiet about Battlefront, a first-person shooter that is in development at Battlefield creator DICE in Sweden. The game is due to launch this holiday, alongside the new movie Star Wars: Episode VII - The Force Awakens. EA signed a ten-year deal with Star Wars franchise owner Disney in 2013 for new games based on the series to be developed by two of its marquee studios: Battlefield series outfit DICE and Dead Space creator Visceral Games. That studio is rumored to be producing an open-world Star Wars game. Former Uncharted creative director Amy Hennig has joined EA to work on Visceral's new Star Wars title, though further details about the game are not available. Are you looking forward to seeing and learning more about Battlefront next month? Let us know in the comments below!
By Anonymous on Mar 19, 2015 11:00 pm
After soft-launching last year in New Zealand, Ubisoft is gearing up to release Driver: Speedboat Paradise, around the world. The developer has announced that the free-to-play arcade-style speedboat racing game, which trades roads for water, will launch worldwide in April for smartphones and tablets.  In Speedboat Paradise, you play a "young, reckless driver trying to make a name for yourself in the ruthless world of underground speedboat racing." You can relate to that, can't you? Your "quest for fame and fortune" is interrupted when you cross paths with Driver series protagonist John Tanner. As you could probably gather, Speedboat Paradise is all about escaping his pursuit by driving really fast in a speedboat and doing jumps. Speedboat Paradise features 32 races across five modes: classic, time trial, endurance, elimination, and duel. Locations include Miami, Cancun, Venice, and the Bahamas. Some races take place during the day, while others are set in the darkness of night. The game offers numerous boats to earn and collect, either by in-game progress or spending real-world money. In terms of graphics, Ubisoft boasts that Speedboat Paradise features "cutting-edge" visuals and a "realistic wave system." And in keeping with the Driver theme, players will encounter a variety of seedy characters along the way, including kingpins, car thieves, drug dealers, and more. Check out some images from the game in the gallery below. The most recent Driver game for consoles was 2011's Driver: San Francisco. No new entries in the core series have been announced.     
By Anonymous on Mar 19, 2015 10:59 pm
A pneumatic leg slams into a neon breastplate, dislodging a ball with curious, flattened sides--futuristic-looking in that characteristically impractical sort of way, like a concept car with inaccessible wheel wells. It's a turnover in favor of Sporting Automata, and one of its robots lumbers into the phosphorescent glow of the end zone, where it spikes the ball and does a few celebratory sit-ups. This is Cortex, an object lesson in a brand of futurism that's surprisingly hard to come by in the world of electronic sports. Its gridiron is littered with extruded geometries and embossed with cosmetic circuitry patterns. Broad-shouldered athlete-simulacra smash into each other like promo animations for the NFL on FOX as their head coach/Matrix operators look on, bottom-lit by monitor glow. It's a wildly speculative vision of what sports could one day be. It's the kind of thing you used to see a lot more of earlier in the digital era, and a far cry from the current tack of e-sports with its gently iterative shooters and fighting games.  Frozen Cortex's other hereditary through-line runs straight back to football. In a planning phase prior to any action, two players simultaneously slip step-by-step instructions to their team of five robots, setting up running routes, passes, blocks, or zone coverage. The goal is to score by reaching the thin strip of the end zone or crossing smaller "extra point" tiles strewn across the randomly generated maps. Waypoints can be laid down with simple clicks of the mouse, and a bot will faithfully trace a direct route through them to the end of its line. With a full set of paths and nodes diagrammed out for the five robots, the traditional playmaking X's and O's here begin to take on the look of an electrical schematic, and it's easy to imagine some subsequent Frozen Cortex '16 version introducing stutter-step resistors and spin-move inductors, or maybe a "battery" symbol for a stiff-arm to the face. A lot of Frozen Cortex's tactical potency is owed to the fact that it allows players to sketch out and demo their opponent's game plan exactly as if it were their own. It's a subtly brilliant little inclusion that opens up the opportunity to tailor-make counters to highly specific plays. Of course, the awareness that your opponent can just as easily construct a 1:1 model for any play you might conjure up ends up bleeding into your strategic subconscious, too. Against a well-versed player, a match of Cortex becomes an exercise in recursion: "They'll be expecting the obvious pass--but they'll also be expecting that I expect that they expect the obvious pass. But then again…" You can imagine the effect this can have on turn length. Outside of a specialized mode with a thirty-second play clock, players can take as long as they want--days, even--to submit their move. But it's all well accounted for in Frozen Cortex's elegant matchmaking system, which allows you to field multiple games simultaneously and even enable email notifications in case your turn comes up while you're away. While the server population never seems to stretch beyond thirty players at a given time, games are easy enough to come by. The measured, deliberate pace seems to attract a crowd that's more genial than most, if sometimes prone to "forgetting" about your match soon after you burn them for a big score. This all means that it only takes a match or two to pick up the fundamentals, which is as long as I can recommend bothering with Frozen Cortex's single-player mode.
With both players' interpretations of the ensuing play in hand, the game crashes them into each other and films the resulting chaos like Jake Gyllenhaal's creepy Nightcrawler cameraman, tailing runners with an uncomfortably narrow chase view or leaping sideways to frame the secondary getting burned on a long pass. A quibble, but it's easy to lose track of a robot during these rare and irregular perspective changes, especially when a given part of the playing field so often looks like any other. Learning to respect the deep ball is the first harsh lesson in the education of a Cortex player. A bot can hurl the rock from one end of the small field clear to the other--as long as there aren't any tall blocks in the way--and drop it in the end zone to be caught or picked up by a nearby teammate. The longest passes freeze at their apex, ending the turn. This ostensibly allows the defense time to swoop in for an interception, but the effect is like a crystallization of that wonderful moment when an NFL cameraman begins that telltale, frantic sideways pan--the moment anyone watching suddenly realizes that something's just gone dramatically wrong (or, less often for a Texans fan like me, right) in the backfield. Unlike passes, runs draw out through the full length of a turn. True to real football, they're the grind-it-out option, leaning on the cumulative effect of bonus point tiles for a win by attrition. Because of the idiosyncratic way that blocking works in Frozen Cortex, stopping the run requires a patient defense and timely risks. If it lapses enough to allow a robot to scamper through to the end zone after hitting a string of extra points, it's a coup.   Two circles around each bot govern all collisions in a game chock full of them: one for blocking and one for tackling. A robot that's "first on scene"--that is to say, reaches an area and goes stationary before the opponent does--will block any comers trying to run past its circle on their prescribed routes. But stationary bots will automatically bypass would-be blockers to snuff out ball handlers that enter their larger tackling radius. It's a strategic wrinkle that forgoes the random number generators so endemic to sports games in favor of something more aboveboard and ultimately more intuitive, too. This all means that it only takes a match or two to pick up the fundamentals, which is as long as I can recommend bothering with Frozen Cortex's single-player mode. There are two main formats: a one-and-done "Knockout" mode and a standard single-season league. In league play, the AI provides stiff initial competition, but it quickly fades as you use the perfunctory free agent system to outspend it on new robots with better stats. There's an overarching text-based narrative involving an investigation into thrown matches, but it goes nowhere fast and rings especially hollow because Frozen Cortex actually allows you to bet against your own team and throw the game without consequences. It's weird to cite a game for trying to go deeper or tell a story. But the futuristic coating that Frozen Cortex paints over its sport works best as a surface treatment. And if you don't cut into it, it looks great. The teams have slick, expressive names like "Heavy Perspective" or "SXT Vision," and their logos look like the glyph symbols in Blade that denote secret vampire rave nightclubs. The industrial electronica tracks thrum along as naturally as a pulse. A news ticker drip feeds evocative little blurbs like "Core 4' Teams to Meet with WRC and League to Discuss Player Rights." It's only in the actual exposition that these things end up belabored, as the league's talking heads try to pack an entire personality into each of the tweet-sized messages they send before each match.  Maybe that's a mark in favor of replacing the human element in futuristic games like this. If you could only excise all those flimsy, unreliable human bodies, with their proclivities for head trauma and contract renegotiation demands, you'd perhaps reach something purer--sport ascended from the flesh, so to speak. Bigger but more thoughtful. Gladiatorial but safe. With blitzes that play out like chess, with mechanized athletes that can pull any move if you can just hit the right combination of buttons. Some ultimate game where nerd and jock fuse together and assume their final form.
By Anonymous on Mar 19, 2015 10:48 pm
Somewhere in the world, there's a 14-year-old in an interminable high school history class who, just to stay awake, is probably imagining a scenario that looks a lot like Bladestorm: Nightmare. The Hundred Years' War is one of the longest and most pointless conflicts in human history, memorable primarily for Joan of Arc's involvement and as the basis for hundreds of years of Brits and the French throwing shade at each other, with decades upon decades of grousing about kings and succession happening in between. Surely, such a memory can only be improved by imagining the war being fought by anime-haired mercenaries commanding legions of sellswords to slay massive armored knights, vicious dragons, and snarling armies of demons, right? On paper, that's a yes, and I wish the folks at Tecmo Koei were capable of doing it justice. Instead, Bladestorm's pretension of being a massive scale real-time strategy game with action elements turns out to be little more than a European coat of paint slathered over the tired Musou formula, with the RTS elements working to its detriment instead of providing much needed fun and depth. At least the game gives you a lot to work with. Bladestorm Nightmare is a remaster and a sequel all in one. The original game, released in 2007, is included here with a few new features to bring it up to par with the new scenario, Nightmare, which totals out to anywhere from 25 to 30 hours of gameplay, all told. If nothing else, it at least succeeds in keeping you busy. This is...not a good-looking game by any standard. Staying busy in the Hundred Years' War scenario involves making a mercenary in the game's fairly deep character creator to lead specialized troops--swords, spears, archers, and the like--into the fray of the ongoing war between the British and the French. Just as in the Warriors games, your job is to go from enemy base to enemy base, clearing out hordes of enemy combatants and their generals, lowering their defenses to nothing until the base commander shows. Killing him or her means that your side sets up shop in the base, and the enemy has fewer reinforcements to prevent you from taking out the big target on the map and clearing the stage. While there's at least a measure of flash and flair to the ongoing march to war in the Warriors games, Bladestorm tries to throw an RTS twist into the mix, in which you don't directly control one single, legendary fighter, but an entire squad that swarms enemies at the push of a button. Special moves are powerful, but they all have a cool down period, meaning that each coordinated move has to be planned carefully. You also have the ability to pair up with another mercenary--either by switching back and forth at the push of a button or via online cooperation, both of which are new features in this version--and you can strategize your attack to leave enemies trapped in massive walls of zealotry and death.  Bladestorm's pretension of being a massive scale real-time strategy game with action elements turns out to be little more than a European coat of paint slathered over the tired Musou formula.
Though you could do that, chances are pretty good that it's unnecessary. Despite a slew of strategic features and options, generally any squad of any weapon can walk right up to any group of enemies, start slashing, and walk away no worse for wear. There is, ostensibly, a strength/weakness system in which specific weapons are more effective on certain squads than others, but aside from occasional trouble with troops on horseback when you're at a lower level, the chances of your squad being wiped out entirely are slim, especially since you can always retreat from battle to your nearest base, round up a new squad, and take another shot. Failure ends up being a virtual impossibility the further you go, since the enemy AI is profoundly awful. I have literally left the game unpaused to take a phone call, with my squad standing ten feet from a group of enemies, and not had the enemies take a single swipe the whole time. That's a characteristic of Warriors as well, but the fun of stringing together insane, crowd-slaying combos against nigh-defenseless masses is non-existent in a game in which all combat boils down to holding a button until damage numbers stop popping up. Once upgrades start coming into play, enemies stop being a factor altogether, and pretty much exist just to be cannon fodder. The tavern, which serves as an ersatz base of operations, allows you to level up each squad's attack, defense, and item frequency, as well as giving you the opportunity to select variants with special powers. The variations are actually fairly extensive, which would be delightful if you didn't have the ability to sail through the game using just your hard earned points to buy attack and defense upgrades, never touching the rest. Instead, your enemy most often ends up being the clock, which times every stage at ten minutes, and stops the fighting no matter how much progress you've made. This would not be such a big deal if traveling from enemy base to enemy base didn't usually take two to three minutes, but even on horseback, you still face long stretches of riding through endless unchanging countryside looking for fights. Aside from occasional trouble with troops on horseback when you're at a lower level, the chances of your squad being wiped out entirely are slim.
  The tavern and the loading screens provide most of the story, which also ends up being a wash. There's plenty of detail to be mined out of 100 years of war, and the game hits on the highlights, with major figures like Edward the Black Prince, Gilles De Rais, and of course, Joan of Arc all making cameo appearances. The historical highlights are, unfortunately, utterly disconnected from the gameplay. As a mercenary, you're allowed to choose which side of each battle you want to fight on, and no matter how much work you put into claiming territory for one side or the other, the cutscenes still generally ignore your progress in favor of the real event. So all your time spent in taverns, chatting up other mercenaries and a bartender with the worst excuse for a French accent this side of Eddie Izzard's Bond-Villain-With-Broken-Translator skit ultimately makes absolutely no difference to the story. Does the Nightmare scenario change any of this? Somewhat. It does introduce a more varied throng of enemies than the Hundred Years' War, with magicians, dragons, and snarly goblins. You're allowed to carry over your mercenaries from the Hundred Years' War, and if you owned the original game on PS3, you can import your character from that version. The difficulty level is kicked up a minor notch, so you might actually catch the occasional beatdown if you're not a bit more careful at first. The ten minute time restriction is eliminated in favor of a more dynamic system of shifting objectives, fake enemies, and a map that actually expands as more enemies make their appearance. So, yes, for what it's worth, Nightmare is a better game than the original. However, the core gameplay hasn't been touched, and turning Joan of Arc into an anime villain--who probably-not-coincidentally bears a more than passing resemblance to Cia from Hyrule Warriors--just makes the scenario into a strange Soul Calibur RTS, rather than doing anything interesting with France's beloved Maid selling her soul to stop a war. Bladestorm: Nightmare is a game trapped in 2007, awkwardly fumbling for a way to push a tried and true formula forward. The ideas are appreciable, but not nearly enough of the required effort has been put in to make this game great or even challenging. Somewhere, a history student is daydreaming of a Hundred Years War full of magic, danger, wild-haired mercenaries, and insane alternate histories in which Joan of Arc becomes witch mistress of Europe. Whatever that kid has in mind, it is certain to be more ambitious than what Bladestorm: Nightmare can provide.
By Anonymous on Mar 19, 2015 10:30 pm
 Perfect World Entertainment, which operates massively multiplayer online games such as Star Trek Online and Neverwinter, has suffered a round of layoffs, according to new reports.  Massively Overpowered has heard from a source at Cryptic Studios, a subsidiary of Perfect World and the team behind Star Trek Online and Neverwinter, that 18 people were let go from the company, making up around 14 percent of the developer's total staff. Meanwhile, the source added that Perfect World's office in Redwood Shores, California was hit "significantly harder" by the restructuring. In a since-deleted tweet, one former staffer referred to the layoffs as a "slaughter." GameSpot has contacted Perfect World, asking for further clarification into the reports. Affected staffers made their departures known on Twitter. Among those laid off was Matt Miller, who previously worked at the company as lead designer for City of Heroes. Development on Champions Online and Perfect World's unannounced projects are unaffected by this week's reported layoffs, according to the source.
By Anonymous on Mar 19, 2015 09:55 pm
 Watch extended gameplay footage from 5 Star Wrestling featuring the Giant Bomb crew.
By Anonymous on Mar 19, 2015 09:53 pm
 Watch extended gameplay footage from The Deer God featuring the Giant Bomb crew.
By Anonymous on Mar 19, 2015 09:30 pm
Following last year's Ghostbusters content, mobile game Family Guy: The Quest for Stuff is now adding new missions based on the hit sci-fi series Star Trek.  Developer TinyCo and Fox Digital Entertainment on Thursday announced a limited-time Star Trek in-game event that will take place March 19 (that's today!) through April 30. Throughout the six-week event, players will be challenged to explore the USS Enterprise and "boldly go where no mobile game has gone before." Family Guy the TV show has of course riffed on Star Trek before, and you can expect the game to retain that humor. Here's how TinyCo sets up the story, which will involve time travel: "After sustaining heavy damage from the Borg, the USS Enterprise and its crew set an emergency course back in time for Earth, year 2015. The Enterprise's Commander William Riker infiltrates Quahog on a mission to protect baby Stewie--whose future self creates technology which threatens the Borg's very existence. With baby Borg Bertram in hot pursuit, Riker enlists Family Guy, Peter Griffin, to repair the Enterprise, save the crew, and protect the future of Mankind… oh, and Stewie too."  Throughout the course of the expansion, you will explore the Enterprise and get to visit virtual representations of The Bridge, Holodeck, Sickbay, and other iconic locations from the Star Trek universe. Characters from Star Trek: The Next Generation will show up in the game, too, including Captain Jean-Luc Picard, Lt. Commander Data, Lieutenant Worf, Chief Engineer Geordi La Forge, and others. Actors from the show, including Patrick Stewart, are lending their voices to the game. Some new Quest for Stuff missions will see players exploring other planets to collect resources and rewards, while others will challenge them to blast enemies with the Enterprise's photon torpedoes. TinyCo even teases that other iconic Starfleet characters will show up, including Captain James T. Kirk himself. The Quest for Stuff launched in March 2013 for iOS and Android. For more on the free-to-play game, be sure to read GameSpot's extensive interview with TinyCo.         
By Anonymous on Mar 19, 2015 09:04 pm
 The PlayStation Network will undergo regular maintenance this coming Monday, March 23, Sony has announced. The maintenance period will be a short one, lasting just two-and-a-half hours from 9-11:30 AM PDT (12-2:30 PM EDT). What's the maintenance for? "During this time we will deploy a series of back-end improvements to the network," Sony said in a statement. This is the same exact wording Sony has used to describe the most recent PlayStation Network maintenance periods, suggesting the upcoming upkeep is nothing out of the ordinary. The PSN maintenance period comes just a day before the release of marquee PlayStation 4 game, Bloodborne, which uses the network for its multiplayer mode. PlayStation Network users who have signed into PSN before the maintenance period begins will still be able to play games online and access entertainment apps such as Netflix throughout the downtime. However, the PlayStation Store, PlayStation Home (which itself is soon going away for good), and Account Management will not be available during the maintenance period. "We thank you for your patience and support and apologize for any inconvenience this may cause," Sony said.
By Anonymous on Mar 19, 2015 04:30 am
 Microsoft will let you upgrade your stolen copy of Windows, get a free PS4 game for donating blood, and PlayStation reveals 'Vue' pricing.
By Anonymous on Mar 19, 2015 02:30 am
 With the release of the Final Fantasy XV demo, we ask Alexa Ray Corriea if this is a new chapter for the beloved JRPG franchise.
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