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Samuel L. Jackson returns to host VGAs

Written By Kom Limpulnam on Jumat, 30 November 2012 | 19.51

This year's Spike TV Video Game Awards will celebrate 10 years of air-time with a special ceremony that will bring together a handful of past hosts.

According to SFGate, previous emcees Zachary Levi, Snoop Lion, Jack Black, and Neil Patrick Harris are set to join this year's host Samuel L. Jackson at the awards next week.

The show will reportedly feature debut footage from upcoming titles, including BioShock Infinite, Castlevania: Lords of Shadow 2, and Tomb Raider, as well as sneak peeks of DLCs, such as Halo 4's Spartan Ops and Assassin's Creed III's The Tyranny of King Washington.

The best game category for this year includes titles such as The Walking Dead: The Game, Assassin's Creed III, Dishonored, Journey, and Mass Effect 3.

The Spike TV Video Game Awards will air on Spike TV on December 7, live from Sony Picture Studios in Culver City, California.


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God of War movie a step in 'bold' new direction - Report

The upcoming God of War movie from Universal Studios will aim to differentiate itself from other films with similar themes.

According to the film's writers Patrick Melton and Marcus Dunstan (who previously wrote Saw IV, Saw V, Saw VI, and Saw 3D), the big screen adaptation of Sony's popular gaming franchise will improve on films like Clash of the Titans and Immortals by taking a step in a bolder direction.

"Those movies can inform the God of War to step in a more bold direction," Dunstan told ShockTillYouDrop.com.

"Not to join those ranks, but to stand head and shoulders apart like other reinventions have done within that genre. The satisfying element is to look at those movies as a commentary on the genre, and now say something different."

Melton also revealed that Sony encouraged the duo to make the movie different from what's already out there in the same genre.

Charles Roven and Alex Garnter, producers of the forthcoming film based on Naughty Dog's Uncharted action franchise, are producing the God of War movie via Atlas Entertainment.

No mention was made of a director or actors for the film, and a release date has not been nailed down.

God of War: Ascension is due out in March 2013. It is a prequel to the original trilogy, and the first entry in the series to sport a multiplayer component. For more on the project, check out GameSpot's latest preview.


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Planetside 2 with Matt Higby - Now Playing

Question: [Are they going to add the option to bind the mouse moving left and right to be used to yaw respectively for aircraft, because not everyone has such fly style of using mouse movement for rolling], i prefer my mouse movement the same as my person's view, to where my "a" and "d" key should control movement and my mouse controls all looking with me considering yawing and pitch to be a semi-way of looking around / having better control to line up perfect shots from far away. The way it is right now for the people with my fly style, just binding everything to keys and not really touching the mouse is a real handicap and could be better if such implementations were added. DICE did it with Battlefield: Bad Company 2 in that you could bind mouse movements to something because the simple movement of the mouse in an x and y, (but not diagonally) direction registered such to whatever was waiting to be bound "press any key or move mouse to bind this to it" kind of thing, so i assume the minds at SOE could put something like this in such an MMO where you'd think with the genre, you could bind anything to anything. Please don't single us out by saying / having an attitude of "just use the keyboard / get a controller." :(


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Call of Duty: Black Ops II Review

Written By Kom Limpulnam on Kamis, 29 November 2012 | 19.51

The Video Review

Chris Watters finds out what happens when a civilian casualty wants revenge in this video review for Call of Duty: Black Ops II.

The past and the future meet on many levels in Call of Duty: Black Ops II. In the campaign, you relive the events that made a man into a villain, then fight to avert his plans for future catastrophe. The competitive multiplayer offers the same frenetic intensity of past games in the series while providing a new way to play that subverts the history of these hallowed online battlefields. And the Wii U finally lets owners of a Nintendo console experience the visual fidelity that players on other consoles have enjoyed for years, adding some novel ways to experience the action courtesy of the GamePad. Poised between past and future, Black Ops II finds solid footing, providing another great ride on the Call of Duty rollercoaster.

Scramble those tiny robot brains with an EMP grenade.

If you played Call of Duty on the Wii, you can stick with your preferred control scheme here as the game supports the Wii Remote with either the Nunchuk or the Classic Controller. The new pro controller is also a great option, but the GamePad offers a few appealing novelties. Most notably, you can play the game entirely on the tablet screen, leaving your TV free for other uses. The screen shows a good amount of detail and runs at a smooth frame rate, making is possible to enjoy any game mode. It does have drawbacks, however, as the small screen area can make it tougher to spot mid-range foes and the button placement on the comparatively bulky GamePad take some getting used to.

This feature can also be used while someone else is playing on the television, enabling each player to have their own screen. You can team up or face-off in competitive multiplayer, both online and off, as well as take on the cooperative zombies mode. If you have a sizable main screen, you might be better off sticking with splitscreen play, but the added versatility of the GamePad is an asset to this version of the game.

As in the other versions, the ride starts off a bit rough as the game makes good on its pre-campaign warning of graphic content (which also lets you opt out of said content). Two early scenes linger on people burning alive, and while one ends up contributing to character development, the other is just gratuitous. Later cutscenes don't flinch from depicting gory violence, though of all the unpleasant sights you see throughout the story, the playful (and not at all gory) post-credits video might be the most appalling.

Fortunately, the campaign boasts an engaging story and a lot of entertaining action. It features the lead characters from the original Call of Duty: Black Ops, and though it references events from the past, a clear narrative thread emerges that is easy to follow. You jump between two time periods: the present, which is the year 2025, and the past, which spans about a decade during the Cold War. The narrative reflections of the elderly Frank Woods (a protagonist from Black Ops) weave these two timelines together, but the character that truly drives the story is the villain, Raul Menendez. During the Cold War missions, you follow Menendez's origin story and rise to power. In the 2025 missions, you desperately try to avert his catastrophic master plan. This parallel character development is deftly handled, infusing your missions with undercurrents of curiosity and urgency.

Things get even more intense when you are asked to make a choice. Press one button to kill a target, the other to let him live. The conditions of each choice vary and there are only a few of them, but even when you aren't responding to a prompt, you might be making a choice in a dramatic moment that will have consequences later. The main course of the campaign remains constant, but these decisions do affect the fate of some key characters. A few of these moments are sure to give you pause, adding some welcome weight to the proceedings, and there's a handy story rewind feature that lets you play earlier levels in order to see how different paths play out. There are also mission-specific challenges that give you ancillary goals to complete while you do so, further increasing the replay incentive.

You can also see some variance in the available strike missions, which are a new type of campaign level. These stages put you in a squad of soldiers and drones, and then let you choose which asset to control at any given time. Defending installations against enemy assault, escorting a convoy, and rescuing a hostage are some of the endeavors you might undertake. Though you have a team at your command, strike missions are still all about you gunning down foes. Your AI allies are only good at slightly hindering your enemies, so you end up doing the heavy lifting yourself, often while tracking activity on multiple fronts and hopping around to deal with advancing enemies. Having to consider the bigger picture is a nice change of pace for a series that has mostly involved just shooting what's in front of you, and these missions are a welcome shot in the arm for the familiar campaign pacing.

Of course, familiar as it may be, that pacing is still great. The campaign ebbs and flows as you move through a variety of diverse, detailed environments using an array of powerful weaponry to dispatch your foes, occasionally hopping into a jet or on to a horse for a short jaunt, or manning a missile turret to tame a swarm of hostile drones. A few neat gadgets and surprising gameplay moments satisfy the novelty quotient, but you still get the lingering feeling that you've done this all before. The new strike missions, dramatic decision points, and memorable villain help keep this concern at bay, however, and this feisty, enjoyable romp is more enticing to replay than other recent Call of Duty campaigns.


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The State of eSports in Asia - Present & Future

 StarSfrife Riot is owned by Tencent a company whose total assets are worth around an estimated $50 billion. They are doing it because they can do it and they have the money to do it. Everything is being closed down by riot because they want to make it structured like a real sport is. Look at NFL / NBA / NHL / FIFA. They will keep growing their numbers and get major sponsors involved. They want full control of the structure and how their pro-scene works because that is their end-goal. To make it operate and work like all the major sports do from FIFA to MLB.

SC2 might be self sustaining but it will never be able to do what riot is trying to do if it operates the way it has been. Like when the BAA and NBL merged to create a single NBA where they all could follow 1 structure with all the teams instead of separate ones. What remains to be seen is if Riot is successful in accomplishing its goals, it is by no means a small task and they need to be very smart as to how they go about it.

This is also the reason Dreamhack / MLG / ESL announced their partnership to grow e-sports. They understand they all need to work together and can't be doing their own separate thing because if they all follow 1 structure with 1 format and 1 ranking system it benefits all of them more so then if they would go on their own. Professional sports do that and it is very easy to follow them for fans. SC2, LOL, DOTA2 there is no clear cut 1 format everyone has their own formats with different schedules and times.... NFL NBA FIFA games don't have that. You know when the games are on every Sunday or Monday and what times they start, regardless of the team playing the times don't change. There is 1 ranking system where you know who is at the top of their division / conference unlike e-sports where it is very hard to tell who really is #1 because someone wins mlg one week the next week another wins dreamhack. There isn't even an overall ranking system for each scene like top 50 in Korea / top 50 in na. Following e-sports is extremely hard and annoying compared to being a fan of any sport. Try introducing a gamer who loves playing games into e-sports and see how that works out. Riot got that many people to watch their game by advertising their tournaments in their client so gamers in general who don't follow e-sports knew there was a tournament going in and they watched it.


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Now Playing: Tokitowa

It's very interesting, I first saw this in the PS3 magazine, now I saw the actual gameplay here in GameSpot, so far it's very enlightening, just all they need to do is localize it, I don't understand any of the dialogue. Kingdom Hearts is one of the good JRPGs, this one might add to my list.


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#1ReasonWhy You Should Pay Attention

Written By Kom Limpulnam on Rabu, 28 November 2012 | 19.51

GameSpot editors Laura Parker and Carolyn Petit discuss the importance of stamping out sexism in the games industry.

Yesterday, the Twitter hashtag #1ReasonWhy exploded into a tremendous outpouring of stories about sexism encountered by women who work in various aspects of the games industry. Over the course of this correspondence, GameSpot editors Laura Parker and Carolyn Petit analyse the importance of the hashtag, sharing thoughts on what the huge response to it means, and where the industry goes from here.

Carolyn:

The #1ReasonWhy is a rapidly growing collection of tweets from women who work in various facets of the game industry recounting negative experiences they have had in their respective fields.

Of course, stories about sexist attitudes in the games industry are nothing new: it's an issue that has been much discussed this past year. (Take the Kickstarter project by Anita Sarkeesian a few months ago about portrayals of women in video games for instance, which generated a great deal of discussion.) But what was immediately remarkable about #1ReasonWhy to me was the tremendous outpouring of stories and feelings from so many women, this groundswell of frustration and anger from so many sources.

On one hand, it was a painful reminder to me of the reality of just how rampant sexist attitudes and behavior are in this industry, an industry that should, I feel, reflect the fact that games can be enjoyed by all sorts of people, that they can bring people together, that they're certainly not just for men.

On the other hand, it was inspiring to see so many voices speaking out, sharing their stories, standing up and calling for change. I'm kind of flabbergasted by the extent to which the hashtag has exploded. To me, that speaks to long-simmering feelings about a pretty severe imbalance that needs to be discussed and addressed. What was your initial reaction?

Laura:

The swell of support for #1ReasonWhy over the last two days is a sign that things need to change. Sexism in the games industry is something that has been discussed more and more over the last two years, and it's so encouraging to see so many women from all parts of the game industry--developers, journalists, writers--speaking up to support each other and make their voice heard in this debate.

One of the things that became clear from reading some of the tweets--the hashtag has been used over 22,000 times on Twitter to date--is how similar some of these experiences are. Up to now it has been really hard to talk about this issue with a united voice because there are so many different attitudes and views in the industry surrounding how best to tackle sexism and attitudes to women. But the hashtag helped identify where some of these problems lie, and even inspired some industry leaders to take action via the #1ReasonMentor response: a call to arms to help connect young women in the industry to more experienced mentors.

For too long we've merely talked about sexist attitudes and behaviour in the games industry. Talk is good, but we need to take action. This is a step in the right direction.

What do you think should happen next? We can't let this fizzle out. How can the industry come together to make the most of this solidarity? How can this message reach the decision-makers and those who hold the power to incite change?

Carolyn:

It's a difficult question without easy answers, but I think the hashtag gives us some reasons to be hopeful. You mentioned the #1ReasonMentor hashtag that came out of it; this should lead to some connections being formed that result in at least a few more women getting into the industry.

One of the more disheartening recurring themes in the shared stories for me was that of hiring practices that overwhelmingly favor men, maintaining the status quo of gaming as a hugely male-dominated industry. Anything that gets more women involved in designing, writing and programming games is a very good thing. I hope that many individuals in the industry, women and men, are motivated by this organic Internet uprising to find ways large and small to challenge existing attitudes, criticize sexist behavior, and incite positive change.

I also think that those of us in the media have both an ability and a responsibility to keep this discussion going, to find ways to investigate and spotlight systemic imbalances like this. Many #1ReasonWhy tweets I saw were from women expressing a reluctance to speak out and share their stories out of fear of repercussions. That fear is a huge problem in and of itself. It's clear that the hashtag offers only a relatively small glimpse into a deep-seated problem that isn't going to go away overnight. If we in the industry get complacent, it may never go away. We need to keep finding ways to make these stories heard. We need to continue fighting for the idea that gaming is not a boys' club, that it doesn't make long-term sense culturally or financially for developers to exclude women from the creation of games, or to market games in ways that insult and alienate women.

I think the general perception of who games are for is already in the process of evolving. There's momentum that's (much too slowly) taking us toward a more inclusive, more equitable industry; we need to not only keep that motivation going but speed it along when we can. If journalists are aggressive in continuing to cover the problem of sexism in the industry in its many forms, and if people participating in programs like #1ReasonMentor keep the ball rolling, I believe it'll be a better industry ten years from now than it is today. It may sound silly, but I really think it's up to all of us to do what we can.

So hopefully this is, in a sense, just the start of what will be an ongoing discussion. Any last thoughts on this for now?

Laura:

I also hope #1ReasonWhy reached developers, publishers and gamemakers who are responsible for hiring talent in the industry. If influential development studios get onboard and pledge their support for this cause (as Bungie has done as well as Halo 4 developers Bonnie Ross and Kiki Wolfkill) and take some sort of stand to say that they do, and they will, pay more attention to how females in the industry are treated from now on, then I think something really positive can come of this.

I agree the media has a responsibility to keep this discussion going. It's not just the industry's practices that have to change, it's also the attitude of consumers and players. Sites like FatUglyorSlutty really highlight the extent of this problem and send a very clear message: this shit has to stop. You're right when you say that what needs to happen now is that the industry needs to re-analyse the way it makes and markets games. Women cannot and should not be excluded either in the creation of games, or in the way games are marketed.

So everyone has a part to play. Developers have a responsibility to ensure the development industry is an equal opportunity environment where women feel comfortable and valued for their skills; publishers have a responsibility to speak to both male and female gamers on equal terms and not alienate or insult one or the other; and consumers have a responsibility to accept the changes taking place in the gaming demographic and make gaming welcome and accessible to all.

#1ReasonWhy is a step in the right direction. All we have to now is make sure that people pay attention.


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GameSpot GamePlay Episode 20: Remote-Controlled Rocket Launcher

Ironclad Games' Blair Fraser confesses his sins to a voracious GameSpot team that's too busy eating a Bigfoot pizza to notice.

GameSpot GamePlay

Host Kevin VanOrd welcomes Ironclad Games' Blair Fraser, who talks bizarre bugs, Sins of a Dark Age, and the awesomeness of the Mega Man 2 soundtrack. The panel also includes Tom Mc Shea, who falls under Reggie Fils-Aime's spell; Chris Watters, who bounces Betties with the best of them; and Carolyn Petit, who manages to escape any genitalia that might populate the Miiverse.

Click here to subscribe to GameSpot Gameplay via iTunes.

Click here to subscribe to GameSpot Gameplay via Zune.

Subscribe to this RSS feed to receive new episodes of GameSpot GamePlay through your favorite RSS reader.

GameSpot GamePlay Episode 19: Deja Vu

GameSpot GamePlay Episode 18: The Cinnabon Engine

GameSpot GamePlay Episode 17: Space Noise

GameSpot GamePlay Episode 16: Press X to Batman

GameSpot GamePlay Episode 15: A Series of Death Screams

GameSpot GamePlay Episode 14: Splinter Shell

GameSpot GamePlay Episode 13: Double Jesus

GameSpot GamePlay Episode 12: All Pandas go to Heaven

GameSpot GamePlay Episode 11: Enter The Pee Zone

GameSpot GamePlay Episode 10: Adolf Critler

GameSpot GamePlay Episode 9: Out of the Closet

Kevin VanOrd
By Kevin VanOrd, Senior Editor

Kevin VanOrd is a lifelong RPG lover and violin player. When he isn't busy building PCs and composing symphonies, he watches American Dad reruns with his fat cat, Ollie.


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Hotline Miami 2 confirmed

Written By Kom Limpulnam on Selasa, 27 November 2012 | 19.51

Game creator Jonatan Söderström says original intention for DLC shifted into a fully-fledged sequel to hit indie title; says the studio is still working on "fixing" Hotline Miami.

Hotline Miami creator Jonatan Söderström has revealed there will be a sequel to the hit indie title.

The developer took to Twitter this week to tell fans that a preliminary Hotline Miami 2 soundtrack was in the works.

"Working while listening to the sweet tunes of a preliminary Hotline Miami 2 soundtrack that we've put together during the weekend," Söderström said.

The comments were later clarified in a Eurogamer article, in which Söderström revealed the planned DLC for Hotline Miami eventually turned into a fully-fledged game, which the studio plans to reveal as Hotline Miami 2 rather than DLC for the first game.

However, Söderström later Tweeted that the team only has some "general plans" for the next game and that their main priority remains "fixing Hotline Miami".

For more on Hotline Miami, check out GameSpot's review.

Laura Parker
By Laura Parker, Associate Editor

Laura Parker is the Associate Editor of GameSpot Australia. She loves adventure games, sparkly stuff, Trivial Pursuit, cake, Master Chief, earthworms, and rhetorical questions. She once stole a sandwich from Peter Molyneux.


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Gaming Meme History: It's Dangerous To Go Alone

Written By Kom Limpulnam on Senin, 26 November 2012 | 19.51

In one of my minecraft worlds I found a cave....

I tried putting a wooden sword in a chest with a sign next to it saying....

"It's dangerous to go alone, take this."

The word DANGEROUS is prohibited in Minecraft WTF?

needless to say a great joke was ruined :(


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Dizzy creators launch Kickstarter campaign

The original creators of 1980s gaming icon Dizzy have launched a new Kickstarter campaign to bring the egg-headed hero to PC and mobile platforms.

Twins Philip and Andrew Oliver are asking for £350,000 on crowd-funding platform Kickstarter to complete a new instalment in the series titled Dizzy Returns. If made, the game will launch on PC and iOS, and will be developed with the help of Blitz Games, the development studio founded by the Oliver brothers in 1990.

"Our aim is not to just reboot an old Dizzy game," the brothers wrote on their Kickstarter page. "We want to stay true to the spirit and core ideals of the original series, whilst utilising the platforms, technology, and resources we now have at our disposal...New puzzles, new characters, new locations, and new ways of playing will bring Dizzy bang up to date and make the game just as much fun for gamers today as it was in the 1980s.

"It's also pretty obvious that any new Dizzy game should have a home on PC. It's something that Dizzy fans regularly ask us for, and, after all, the 'classic' Dizzy control experience with keyboard keys or joystick harkens back to the days of the Amstrad, Spectrum, Commodore 64, ST, and Amiga."

In addition to the above, the game will feature a new story and mechanics, as well as non-linear puzzles and a retro mode (8-bit graphics and classic difficulty).

As of writing time, the Kickstarter project has amassed £11,937 ($19,136) of the £350,000 ($561,000) goal.

A minimum pledge of £10 ($16) gives users a digital PC copy of the game, plus access to developer diaries, interviews, and digital content.

If funded, Dizzy Returns is slated for release in Q3, 2013. Last December, Codemasters released a remake of 1991 2D adventure title Dizzy: Prince of the Yolkfolk for iPhone, iPad, and Android devices.


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Assassin's Creed III and the Singapore Connection

Assassin's Creed Anthology collection announced, first-week sales of ACIII rise 100 percent over AC: Revelations' mark; futuristic action game landing next year; company posts $41.35 million loss for six-month period.

Posted Nov 6, 2012 | 1:38 | 7,758 Views


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Beyond Good and Evil: Morality and consequence in The Walking Dead

Jessica McDonell wrestles with tough decisions and her own emotions in The Walking Dead.

Spoiler alert: The following piece contains minor spoilers for The Walking Dead and Heavy Rain for the purposes of providing illustrative examples; it is not intended to summarise or spoil the game's narrative.

The best games extend the story beyond the role of a functional mechanic used to contextualise gameplay, and instead use it to create an emotional connection to the player, where they are confronted and compelled in equal measure. The Walking Dead is one of these games. It employs a decision-making system that forces its players to make difficult in-game choices, which in turn cause the gamer to confront their own morality, priorities, and sense of self.

The Walking Dead isn't the first game I've played that offers up extensive player choice. I remember siding with the Imperial Legion in Skyrim for the good of Tamriel, and sacrificing my own life to save my son's in Heavy Rain. Those choices were clear; at least, they were to me, considering I believed that they were in line with my own sense of right and wrong. The choices in The Walking Dead are not clear; they are messy and devastating, with each difficult choice resulting in an often unpleasant consequence.

The choices in The Walking Dead are not clear; they are messy and devastating, with each difficult choice resulting in an often unpleasant consequence.

So often, player choice in games is divided into light or dark. Chaos or mercy. Helpful or hurtful. In games such as Star Wars: Knights of the Old Republic, this division is dichotomous; it is the bipolarity upon which the whole story--and, in fact, the whole universe--hangs. Even stealth-action games such as Dishonored respect this division. It's a little less clear cut, but the message is the same: commit chaos, and you will be rewarded with chaos; deliver mercy and incapacitations instead of death, and the world comes out a little brighter.

The decision-making system in The Walking Dead is reminiscent of "Would You Rather" games that I played as a child. Two often unpleasant or downright awful options are offered up, and a choice must be made as to which would be more preferable. An early conflict in The Walking Dead resulted in my first confrontation with the game's "who will you save?" mechanic. Two people were in danger, and, as far I was concerned, the one I did not choose to aid would die. The choice in question was between a little boy who I had not spoken to, and an adult man who had given me a ride to safety.

The Walking Dead is not a classic adventure game, as you don't have all the time in the world to play with puzzles or toy with dialogue options to make an informed decision. It is, in fact, quite the opposite. A menacing white time bar trickles down in the centre of the screen, forcing your decision to be impulsive and your actions to be permanent. The second I noticed the bar moving and realised my time was running out, I made a spontaneous decision that I wasn't aware I had even processed. I saved the man and left the young boy to die.

The result was confronting, so confronting, in fact, that I had to stop playing for a little while. Not merely because the boy had lived, having been saved by his father, and the adult man had died as I struggled to help him, but because I didn't know if I had made the right choice. I didn't know if there was even a right choice to make. On top of that, I had chosen to save an adult--with whom I had formed only a basic rapport--over a helpless boy. The Walking Dead seemed to not only force me to make impulsive decisions; it also subsequently left me considering what those decisions said about me as a person, my priorities, and moreover my personal sense of morality.

The philosophical school of utilitarianism, which has permeated society's sense of ethics for decades, consists of the "Greatest Happiness" principle. It states that "It is the greatest happiness of the greatest number that is the measure of right and wrong". Because of this, it is considered morally correct and noble to sacrifice oneself if it is for the greater good. Whether this philosophy is ascribed to or not, it is evident in both its direct representation and antithesis in games that contain divergent morality systems. Generally, players will either choose to abide by this system by replicating this noble, moral philosophy, or, conversely, push back against this expectation and act immorally and selfishly.

Having been raised by a lawyer--one of the honest ones--and a psychologist, I have always had a strong sense of doing what is right. I abide by laws, even those that I may not necessarily agree with, and I try to be honest wherever possible, even if it impacts me negatively in the short term. Consequently, I see these traits reflected in the characters I create in game worlds, and the way I go about my play. I always choose to be the Jedi, the martyr, the friend and confidant. I pour my credits into the hands of needy NPCs, and singing birds and forest fauna pick out my wardrobe like something out of a Disney movie. You get the point.

The Walking Dead is not as simple as that, though. The game doesn't make it easy to just be good or moral, because there's more at stake than getting Dark Side points or temporarily annoying a companion. If you don't ration out the scarce amounts of food you're given to the right people, you will alienate some of them, and that small action will reverberate through the rest of the game. If you're cruel instead of comforting to an NPC in need, they will remember it, and it will factor in to their willingness to help when you inevitably need their help.

I always choose to be the Jedi, the martyr, the friend and confidant.

An old man lay dying on the ground, and four people, including my character and a little girl, were trapped in a room with him. If he died, he would become a zombie and we would all be in danger. His daughter tried desperately to revive her father while a man screamed that we needed to destroy his brain before he became one of the undead. Another decision. Side with the man and help kill a woman's father for the possible good of the room, or side with the woman and try to help her father while endangering the group. I chose the latter, but before we could try to revive him, the shouting man had driven a concrete block through the dying man's head.

This scene depicts another important feature of the game: the characters are not under your control. Just because you step in doesn't mean the person in peril who you side with will be saved, or that the characters around you will go along with whatever you choose. The NPCs have their own families, concerns, priorities, and, yes, morality. Without so many points of reference, it would be difficult to gauge a comparison to my own priorities and decency in the game world, where survival is constantly threatened.

Later in the game, my group found an abandoned car full of much-needed supplies. There wasn't a person in sight, but the sinking feeling in my own gut, and on the minds of some of the other characters, was that the supplies were not ours and it wasn't right to take them. On any other day, I wouldn't, but I had an eight-year-old girl in my care who hadn't eaten in days, and in The Walking Dead supplies are few and far between. The ordinarily clear-cut, black-and-white thought process is an unnavigable grey. I fought the sinking feeling, and opted to take the food and medicine for our group. The little girl, whose moral compass must have been stronger than mine, looked on, disappointed, and claimed that she wanted no part in the spoils. Immediately, I felt terrible as I watched my character hand out every last thing in the boot of that car while my ward looked down at the ground.

I sat back from the game and my urge to reload spiked, but it was already too late; the saving symbol in the top-right corner of the screen set my decision in stone. The situation and its results passed through my mind as it would in any other game. Did I say the wrong thing? Was it wrong to place survival above righteousness? What about a child's survival? The questions swirled inside my head.

This is a game that manages to confront the player beyond the mere act of telling a grisly story. Choice in games has generally been celebrated, but it is rarely taken beyond two paths. Here, it is transformed into a tangled web of spontaneous choices that drastically alter the player's experience. It will still lead the player through the same locations, regardless of the relationships between the characters, though the way that these affect the experience is seldom evident. Every episode left me lying awake, contemplating the results and feeling emotionally drained; each new option was accompanied by ramifications.

I found myself taking a moment before revealing to friends who had also played the game what my decisions were in different sections. I contemplated what they would come to conclude about me as a result. What would a choice to ransack a stranger's belongings out of self-interest say about who I am? Would they be able to see through my choice to yell at my young ward for putting herself in danger? Could they connect that decision to my deep-seated personal struggles in dealing with anger and my fierce over-protectiveness?

Perhaps it's over-analysis, but I feel it would be remiss of me to deny the power of a game that can evoke so much emotion and contemplation that it makes me question my own beliefs. It is jarring to be faced with a reflection of yourself, particularly one you weren't expecting, and presented with a side you didn't think you had.

The Walking Dead is an unsettling game, and it tested my subconscious sense of self and priorities at every turn. It's fascinating to be able to connect with a video game in such a way that it pushes my own emotional boundaries to breaking point. Gameplay and story seldom come together in such a harmonious way as they do here, and, with such powerful results, my hope is that this season will provide a model of emotional resonance that other developers will also want to shoot for in their own games.


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Fireside Chat with Notch - MineCon 2012

Written By Kom Limpulnam on Minggu, 25 November 2012 | 19.51

 kelso27 

butthurt? i couldnt care less. the guy is a nobody. when his next game flops nobody will even remember him..... thus the tragedy of the one hit wonder.

unlike most of the jokers on this site, i dont go around defining my life with videogames...


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Feedbackula - Wii U Launch Bonanza!

Written By Kom Limpulnam on Sabtu, 24 November 2012 | 19.51

 Toysoldier34  Tripwolf 

You are mixing two very different things up.

There are some who do not really think before posting comments, but there are many who just don't speak english so fluently (less will they be able to write using propper grammar), and still enjoy the contents of GameSpot.

If you are able to write a comment in perfect french, german and spanish I still won't agree with you. If you aren't, perhaps you'll see my point.

Would you rather have a community exclusive to english speaking countries, people trying to write in english and failing, or comments in every language (including many you don't understand)?


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New Releases: November 25th - December 1st

 Mister_Zurkon Please.... tell me you didn't mean that.

No other game Bioware has ever put out even comes close to Baldur's Gate 1 and 2, ESPECIALLY 2.

How anyone can hold Dragon Age or Mass Effect above BG is totally beyond me, and yes, I HAVE played them.


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Razer Game Booster software in open beta stage

Written By Kom Limpulnam on Jumat, 23 November 2012 | 19.51

The program temporarily shuts down unnecessary applications and offers calibration options.

Razer has announced that its Razer Game Booster application is now available for the public in an open beta state.

The program allows gamers to temporarily shut down unnecessary applications, so that their computer resources can focus on just running games. The Razer Game Booster also offers simple options to tweak and defrag a user's computer, as well as update old drivers. In addition, it allows users to create tutorials and record real-time audio and video as well as capture screenshots.

The software's predecessor, the IObit Game Booster, was given a five-star rating by CNET and has been downloaded 1,463,120 times.

Gamers can download the Razer Game Booster app on this link and also on Razer's official page.

Jonathan Toyad
By Jonathan Toyad, Associate Editor

Born and raised from a jungle-laden village in Sarawak, Malaysia, Jonathan Toyad has been playing games since the early 90s. He favors fighting games, RPGs, and rhythm titles above every other genre, and occasionally spaces out like Pavlov's dog to video game music on his iPod.


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Graphics Comparison - Hitman: Absolution

It's not that people want to see whether the console versions are better than the PC version, because we all know that 99.999999999... (continued forever) percent of the time, the PC is guaranteed to be superior from a graphical standpoint. However, what people do want to see, is how much worse the console versions are to see whether, being a PC and console owner, they should get a console version if the difference isn't too glaring.

Why would someone want to get a console version over a PC version even if they know the graphics will be worse, you might ask? Perhaps because they have more friends to play online with, or perhaps they prefer the controls, or lack of DRM, etc, etc. There are many reasons to choose from.

In the end, my point is that obviously a large graphical and performance difference might be the difference might mean the difference determining choosing a PC version of a game over a console version, but if the difference isn't too great, many gamers will opt for the console version instead for the reasons I listed above. This means that these comparisons are useful and SHOULD involve the PC version at all times to make those kinds of choices easier. It's simple logic and I don't see why people would be against it.


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Professor Layton vs. Ace Attorney detailed in new trailer

Trailer for 3DS crossover title reveals more gameplay details; puzzles will be combined with signature Ace Attorney courtroom interrogations.

A new trailer for upcoming crossover title Professor Layton vs. Ace Attorney from Capcom and Level-5 has revealed more details about the gameplay.

Although the trailer is in Japanese, the gameplay footage makes it evident that the title will combine the defining elements from each of the two franchises.

Players will be required to investigate clues and solve different kinds of puzzles while playing as Professor Layton and Luke, while the other part of the game will require the same courtroom interrogations and clue matching that has defined the Ace Attorney series.

Players will alternate between Layton and Phoenix Wright.

According to CVG, the game's story will see Professor Layton and Phoenix Wright descend on the medieval town of Labyrinth City, where villain ruler Story Teller is able to create anything he wants simply by writing it down.

Professor Layton vs. Ace Attorney is due out in Japan on November 29 for the 3DS. There are currently no details about a Western release for the game.

Laura Parker
By Laura Parker, Associate Editor

Laura Parker is the Associate Editor of GameSpot Australia. She loves adventure games, sparkly stuff, Trivial Pursuit, cake, Master Chief, earthworms, and rhetorical questions. She once stole a sandwich from Peter Molyneux.


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GameSpot GamePlay Episode 19: Deja Vu

Written By Kom Limpulnam on Kamis, 22 November 2012 | 19.51

Kevin VanOrd gets lazy--er, efficient--in this greatest-hits episode of everyone's favorite podcast. And by "everyone," we mean, "Steve from Bowling Green."

GameSpot GamePlay

A new console has been released, the reviews schedule is exploding, and host Kevin VanOrd needed time to roast his Thanksgiving turkey. And thus was born this cheap clip episode, in which Kevin lazily compiles his favorite bits from episodes before and regurgitates them.

Wait--that's not right. That should say, "and thus was born this lovingly crafted greatest-hits compilation, which gives you the chance to relive beloved moments from a modern classic of a podcast."

That sounds better, now, doesn't it?

Click here to subscribe to GameSpot Gameplay via iTunes.

Click here to subscribe to GameSpot Gameplay via Zune.

Subscribe to this RSS feed to receive new episodes of GameSpot GamePlay through your favorite RSS reader.

GameSpot GamePlay Episode 18: The Cinnabon Engine

GameSpot GamePlay Episode 17: Space Noise

GameSpot GamePlay Episode 16: Press X to Batman

GameSpot GamePlay Episode 15: A Series of Death Screams

GameSpot GamePlay Episode 14: Splinter Shell

GameSpot GamePlay Episode 13: Double Jesus

GameSpot GamePlay Episode 12: All Pandas go to Heaven

GameSpot GamePlay Episode 11: Enter The Pee Zone

GameSpot GamePlay Episode 10: Adolf Critler

GameSpot GamePlay Episode 9: Out of the Closet

GameSpot GamePlay Episode 8: Ladycrotch

Kevin VanOrd
By Kevin VanOrd, Senior Editor

Kevin VanOrd is a lifelong RPG lover and violin player. When he isn't busy building PCs and composing symphonies, he watches American Dad reruns with his fat cat, Ollie.


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Lego The Lord of the Rings Review

Those who have never played one of the many Lego games developed by TT Games might find it difficult to believe that a beloved franchise such as The Lord of the Rings can benefit from a simplified narrative and family-friendly gameplay. The notion seems absurd, and yet past releases have capably proven that plastic blocks and theatrical blockbusters can make a great mix. That's particularly evident in the case of Lego The Lord of the Rings.

Though the game doesn't offer many narrative surprises, the lack of unexpected twists actually works in its favor. If you've seen the movies, you know the story of the brave hobbit Frodo and his journey to a well-guarded volcano where he hopes to destroy the cursed bauble he carries. All of the nastiest creatures in the land would be delighted to pry "the One Ring" from Frodo's cold, dead hands, and the capable people who should protect him are usually busy facing similarly important struggles of their own. The characters' combined adventures provided ample fodder for hours of cinematic excellence, and now Peter Jackson's three enormous films have been crammed into a single game.

This latest adaptation of the classic tale doesn't feel like a cheap substitute for the epic story, even though the protagonists are now fashioned from plastic. The most riveting moments from the film trilogy are recreated here--even a few that existed almost entirely for the sake of character development or mild comic relief, such as the contest between Legolas and Gimli to see who could slay the most orcs. The shrugs, smirks, and tension-diffusing humor that are standard practice in Lego games have been supplemented here with extensive spoken dialogue that was pulled directly from the movies. Kids will love seeing characters skewered by fruit or snuggling with teddy bears, while parents will appreciate the minimal violence.

A fascinating story and great voice work can carry a game only so far, though, and Lego The Lord of the Rings benefits from a solid gameplay foundation that should keep players of all ages coming back for more even when they already know how everything ends. Stages generally consist of a series of basic puzzles, occasionally interrupted by battles with small enemy groups that are easily overwhelmed. You can swap protagonists instantly to gain access to their respective abilities, and there are no permanent deaths. Characters briefly falls to pieces but almost immediately return to the action.

The worst punishment you face is the loss of a portion of the studs you've collected, which means you could be deprived of a True Adventurer bonus once you clear the stage. Advancing from the game's prologue to its closing credits will probably take you no more than 10 or 12 hours, but actually reaching 100 percent completion could easily take twice that long. Mostly, you are allowed to decide what sort of experience you want to get from playing, within the established framework.

Due to the occasionally distracting volume of available content that practically begs to be discovered, a dynamic stud trail guides you to the next story sequence. Banners are spread throughout the open world and handily mark the entrances to action stages, but adventurers can easily get turned around without additional assistance. Fortunately, it's easy to warp directly to places you have previously visited, or to consult a map and set helpful waypoints. The stud trails unerringly lead you toward a chosen point unless you find a new obsession. Detours from the beaten path aren't a problem, either; the translucent stud trail quickly adapts and calculates the best route from your current location to your chosen destination at all times. That helpful mechanic isn't new to video games or even to the Lego franchise, but it's tremendously useful all the same.


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Bravely Default: Flying Fairy Does A Better Job At Being Final Fantasy Than Current FFs

We check out the first few hours of this not-very-subtle nod to Final Fantasy's golden years.

It's apparent from the few hours poured onto Bravely Default that the Flying Fairy subtitle isn't fooling wary gamers. The recent JRPG with the rather silly name is the spiritual successor to Final Fantasy: The 4 Heroes of Light in tone, spirit, and gameplay mechanic. And believe us when we say that it's a sight for sore eyes, especially when creator Square Enix is bending over backward to make its mothership RPG series relevant again.

Players control four heroes who are on a quest to purify the game world's elemental crystals, while also shaking off an elite group called the Eternian Air Force Jobmasters. The heroes you control aren't blank slates in the personality department. You've got the straight man do-gooder, Tiz; the amnesiac casanova, Ringabell, the demure Wind Crystal keeper, Agnes; and tomboy, Edea. While not the most original of all typecasts, they're still endearing to listen to and watch as they play off each other during the main story quest.

Then again, BD:FF's story isn't the main draw. To get the leg up in turn-based combat, players can switch each party member's classes at any time--except during combat. These classes, or jobs as the game calls them, range from melee specializations like the Knight and Monk, to ranged and magic-using roles such as the Summoner and Time Mage. Abilities you learn from one particular class can be used on a different class as long as you fill up the required job points from the previous class.

In essence, the game takes the best portions of the job class system from Final Fantasy Tactics and Final Fantasy V, and has amped it up further so that there's plenty of room for customization. For example, you can use a White Mage's self auto-healing ability (you recover from ailments after a fight) while you're using a pirate class.

The list of combinations go on: you can use a ninja's dual-wielding ability on a Dark Knight, making them even more dangerous up-close, or even take a Summoner's mana point-siphoning ability on a magic swordsman class where the majority of your attacks take up a lot of mana. To say that you'll be taking a few hours building up the perfect party of four is underselling its simple-yet-complex nature.

The other feature that sets this one apart from its predecessors is the Brave and Default modes. Players can choose to either use up Brave points to take extra turns performing actions, or go into default mode to defend and gain more Brave points. If you just start off using Brave points until your character's points drop to the negatives, you'll be inactive and vulnerable as your enemies receive extra turns in a row; they'll most likely use it to punish you or buff themselves up tenfold.

The trick to the combat here is to save up as many points as possible so that you can unleash the most damage within a single span before your opponent can react. Conversely, you can just go all-out and spend Brave points until you're in the negative zone, if you think you can take down your encounters in one fell swoop.

We had to learn this through the very first major battle against a rogue White Mage and Monk. As the former can heal both herself, and the monk pretty quick, we had no choice but to play defensively until we unleashed hell upon them with enough Brave points. The system introduces a risk/reward system for players: they can either play it safe and defensively or throw caution in the wind and hope for the best with an all-out assault. We suspect that future boss battles will require us to exploit the system if they have abilities that can wipe out a party with just two attacks.

Just like any 3DS game, BD:FF uses the Streetpass functions of the system it's on; specifically for the "friend summon" system and the Nolende village-rebuilding minigame. For the former, getting Streetpass data from friends and strangers allow you to summon their avatars for a special attack not unlike FF VII's Cloud summoning a giant fat yellow bird to kill his foes.

As for the minigame, players can use Streetpass to recruit people to help rebuild Tiz's village that was totally wrecked from the events of the game's intro. The big incentive for players to invest time in this is that they can buy items and weapons not found anywhere else in the game, provided that the village population is huge. So if you want an uber-weapon for your ninjas and hunters, or if you want to customize a party member's deathblow move (the game's limit break that's weapon-dependant), you'll want to start mingling with civilization and collecting Streetpass data.

BD:FF is not only a throwback to the old days of Final Fantasy, but it also keeps up with the times by adding in nuances from modern game design. These include the options to skip cutscenes, as well as fast-forwarding battle actions. During our playthrough, we got fair challenges, though the game showed that ample party preparation (items, job setups) is key in taking down the multitude of dungeons in the main story mode.

While there is currently no official word from Square Enix on having it localized for the Western market, we feel that it would be a missed opportunity if it wasn't on the company's mind to do so. We strongly feel that BD: FF could be the RPG to bring the company back to good graces with former fans who may be feeling betrayed by the recent changes its Final Fantasy brand has been through.


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Intel Extreme Masters Singapore kicking off tomorrow

Written By Kom Limpulnam on Rabu, 21 November 2012 | 19.51

ESL World's Intel Extreme Masters Singapore is set to kick off this week.

The games that will be featured for the tournament will be StarCraft II: Wings of Liberty and League of Legends. The event itself will be held at the SITEX 2012 exhibition at the Singapore Expo, Halls 4B-6. The schedules for the tournaments from November 22 to November 25 are below (GMT +8/SGT time zone):

November 22
Time: 11am – 9pm Tournaments: StarCraft II Open Bracket, League of Legends Group B

November 23
Time: 11am
Tournaments: StarCraft II Group Stage, League of Legends Group B

November 24
Time: 11am - 9pm, League of Legends finals start at 6pm
Tournaments: StarCraft II round of 16 and first three quarter-finals matches, League of Legends semi-finals and finals. November 25
Time: 11am – 5:30pm; StarCraft II finals start at 3:45pm
Tournaments: StarCraft II last quarter finals, semi finals and finals matches.

For more information, check out the official ESL page for the event. GameSpot will update this space with the livestream link.


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Wonderbook: Book of Spells touring Australia

Gamers who are curious about Sony's augmented-reality (AR) game Wonderbook: Book of Spells will have a chance to experience the puzzle game for themselves. Sony Entertainment Australia has announced that the PlayStation 3-exclusive game will be touring Australia, appearing in a variety of locations.

The game is played with a book, which needs to be used in conjunction with the PlayStation Move and PlayStation Eye peripherals to cast magic.

Wonderbook: Book of Spells marks a collaboration between Sony and Harry Potter author JK Rowling. Book of Spells is the first game to use Wonderbook, and works by tapping into the Harry Potter universe.

In the game, players will learn how to cast a range of spells, including Incendio, Wingardium Leviosa, and Expelliarmus, with the PlayStation Move controller taking the place of a wand. The game was well received in GameSpot's review.

See below for a full list of locations and dates where you can experience Wonderbook: Book of Spells.

NSW

Westfield Parramatta
November 15 – 18

Westfield Chatswood
November 22 – 25

Westfield Penrith
November 29 – December 2

Westfield Miranda
December 6 – 9

Westfield Liverpool
December 13 – 16

Qld

Westfield Chermside
November 15 – 18

Westfield Garden City
November 22 – 25

Vic

Westfield Fountain Gate
November 29 – December 2

Westfield Doncaster
December 6 – 9

Westfield Plenty Valley
December 13 – 16

Westfield Southland
December 20 – 24

WA

Westfield Carousel
December 20 – 24


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Adjusting Our 2D Shooting Viewpoint With Mirror War

GameSpot's Jonathan Toyad goes kunai and tarot cards-ablazing with two classes in L&K Logic's MMO nod to classic 2D shoot-em-ups, straight out of G-Star 2012. For a G-Star 2012 summary, head here: http://bitly.com/UryMfw


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Dungeon Striker Class Playthrough

Missed out on G-Star 2012 and its elaborate show floor? Don't fret: we've got the whole experience on camera for your viewing pleasure! For our recap of the whole event, head here: http://l.gamespot.com/UryMfw

Posted Nov 16, 2012 | 3:55 | 5,663 Views


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Aliens: Colonial Marines - Survivor Multiplayer Trailer

Written By Kom Limpulnam on Selasa, 20 November 2012 | 19.51

GameSpot's Laura Parker is joined by Polygon's Tracey Lien, former 2K developer Bryan Ma, and former Managing Director of Sega Australia Darren Macbeth to discuss some of the issues that affect Australian gamers: pricing and classification.

Posted Oct 7, 2012 | 34:14 | 1,794 Views


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The OzSpot 20/11/12: The Lucky Dip Cat Edition

This week: Wii U, Black Ops II, indie games, and cats!

On this week's show we chat Wii U hacks, Black Ops II international sales, the need for review scores, and our thoughts on which video game character we'd most like to have dinner with.

Tune in!


Watch live video from gamespot's channel on TwitchTV

Laura Parker
By Laura Parker, Associate Editor

Laura Parker is the Associate Editor of GameSpot Australia. She loves adventure games, sparkly stuff, Trivial Pursuit, cake, Master Chief, earthworms, and rhetorical questions. She once stole a sandwich from Peter Molyneux.


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Ninja Gaiden 3: Razor's Edge - Video Review

 Bobzfamily it's to be expected. new console launches are usually filled with previous-gen ports that don't do much with the system, and the devs aren't used to the new hardware yet. the latter is intensified on nintendo systems, since ninty likes to add those new types of play to new systems.

but they'll get better. just look at the DS and the wii.


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Ninja Gaiden 3: Razor's Edge Review

Ninja Gaiden 3 for the Xbox 360 and PlayStation 3 was met with a large chorus of disappointed cries. Clearly, developer Team Ninja heard and considered the negative feedback that players flung in its direction like the blades of a thousand and one katanas, and thus crafted a retooled, more difficult edition of its brutal action game. Ninja Gaiden 3: Razor's Edge has more faith in you than did its original iteration, challenging you to prove your worth rather than mindlessly slice your way through hordes of foul-mouthed ninjas. There are other improvements and additions too, all of which sound good on paper. But making Razor's Edge substantially harder did not make it substantially better.

Ryu and Ayane prove that their blades are just as adept at slicing ninjas as they are at slicing watermelons.

In many ways, Ninja Gaiden 3: Razor's Edge resembles its blade-heavy forebears, with series hero Ryu Hayabusa eviscerating ninjas and dodging about at an alarming rate--and with alarming amounts of viscera--as accompaniment to your frantic button presses. With some assassinations comes a cinematic animation in which the camera swoops in close as Ryu slashes and chops, though they are fewer in number this time around, which keeps the pace flowing better. Every so often, you can hold a single button, and Ryu slices and dices through a number of foes, though you can't rely on this mechanic to do too much of the work for you: you have to earn your victories.

Indeed, Razor's Edge is quite hard at certain points. While you started the original release with a full repertoire of moves, here you begin with a scant list of attacks and purchase new combos and upgrades once you have earned enough karma through battle. You earn new weapons and magical ninpo attacks too, which is a great relief considering how the original Ninja Gaiden 3 limited you to a single blade and a single ninpo. Now, you can cut into bad guys with a giant scythe, voracious talons, or dual katanas, each of which subtly varies the tempo of combat in satisfying ways, and features its own gory animations.

The increased challenge also comes in more traditional ways: enemies do more damage and you do less, and certain new enemies, such as throngs of speedy demon-creatures, threaten to overwhelm you by sheer numbers. But while the challenge is welcome, Team Ninja didn't balance it out by tightening the controls--and all too often relies on the projectile-spewing enemies that plagued Ninja Gaiden II. It simply isn't fun to have rockets flying at you from multiple directions in a melee combat game, particularly when they interrupt animations and knock you down. More importantly, there are excruciating moments when Ryu simply doesn't want to perform the necessary action, even though the animation for his previous move is clearly finished. This was a noticeable foible before, but given how easy Ninja Gaiden 3 was, it was more a nuisance than a liability. Now, Razor's Edge requires precision, but doesn't give you the tools to be precise.

The Wii U control pad doesn't prove a great asset to Ninja Gaiden 3: Razor's Edge--nor does it present a great liability. Given the mashy nature of combat, the sticks and buttons allow you to keep pace as well as a traditional controller. As for the touchpad, the ability to select weapons from the screen rather than pull up a separate menu is a handy touch, though otherwise, any action you can perform on that screen (ninpo attacks, for instance, or ninja sense, which shows you where to head next) is more efficiently performed using buttons.

Along with standard encounters, the boss battles have been intensified, in some cases exponentially, though the original release's recurring boss still manages to be a tedious one. At least most of these battles test your wits in this iteration, with additional attacks and vast amounts of health lost when big baddies like a hulking metallic dinosaur get a swipe in. But while many of these encounters require more focus than before, the challenge was not evenly applied. The god prototype requires many minutes of patient slashing and dodging that you will likely repeat a number of times--yet you'll probably triumph in the larger-than-life Obaba battle in a single go. Your biggest enemy when it comes to bosses is not the battle itself, but rather your health bar: your maximum health diminishes over time as you take damage. There's a good chance you might enter a boss battle with your health bar a fraction of its full length--and there it shall remain even when you restart the battle.


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Xbox World to reveal next-gen details in new issue - Report

Written By Kom Limpulnam on Senin, 19 November 2012 | 19.51

The penultimate issue of Xbox World magazine will reportedly reveal new details about Microsoft's new Xbox console, according to CVG.

The magazine's editor reportedly told the site that the next-generation Xbox will most likely be called "Xbox" instead of "Xbox 720", and will ship with 8GB of RAM and a quad-core processor.

Other details about the new console that will reportedly be revealed by Xbox World include Kinect 2.0, Blu-ray discs, directional audio, a TV output and input, an "innovative" controller, and the possibility of augmented-reality (AR) glasses to be used at a later stage in the new console's life.

Microsoft has not officially confirmed that it is at work on a new console, but speculation about the new Xbox has been circulating for some time. In June, a 56-page document allegedly from Microsoft indicated that the company is planning to launch an Xbox 720 in 2013 at $299. An updated version of the Kinect was to be included, and AR glasses support would be added sometime after launch. The document has since been removed at the behest of Microsoft's legal team.

Earlier this month, Microsoft filed a patent for a new tech system designed to monitor viewers while they watch TV.

For more speculation regarding Microsoft's next home console, check out GameSpot's rumour roundup feature.


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Street Fighter X Tekken major patch arriving next year

Capcom has announced the release date for the update of its major 2012 fighting game title, Street Fighter X Tekken.

According to a post by producer Tomoaki Ayano, the 2013 patch will be out on January 29. Concerning general changes, the patch will make recoverable health easier to spot, as it will change its colour from light yellow to red. Life-recovery speed will be adjusted so that players will rely less on timeout victories. Normal throws will have five frames instead of seven, so that they are viable against opponents playing defensively. The entire Tekken roster will have anti-air attacks improved.

For a few examples of character-specific tweaks, Kazuya's EX version of his Wind God Fist move makes him invincible throughout the entire attack. Ryu's heavy kick crouching sweep will have seven frames instead of the original attack's five frames, and Bryan's medium and heavy versions of his Fisherman's Slam cannot hit airborne opponents. For more detailed information, check out the Capcom Unity post.

Capcom will be hosting the grand finals of the Street Fighter 25th Anniversary tournament on December 8. The games featured in the tournament include Street Fighter X Tekken, Super Street Fighter IV Arcade Edition, Street Fighter III: 3rd Strike Online Edition, and Super Street Fighter II Turbo HD Remix.


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Indie devs team up to help fund LA game center

Thirty independent game developers have teamed up to help fund a new creative space in Los Angeles that's dedicated to video games.

The LA Game Space will be designed as a non-profit centre for video game art, design, and research, offering exhibitions, workshops, and residencies available both at the site and online. The project has been underway for three years, and has enlisted the help of 30 independent game developers to launch a Kickstarter campaign to help with funding.

Each developer enlisted in the campaign, including the minds behind games such as Hotline Miami, Unfinished Swan, QWOP, and the Bit.Trip series, will develop a new game specifically for the project.

A game pack that will include all 30 games will be available for $15. For those wishing to donate more, other prizes include a founder credit, t-shirts, colour prints, and pixel portraits.

The campaign has amassed just over $35,000 of the $250,000 goal, and is due to finish on December 7. According to the developers, all 30 games in the pack will work with Windows, Mac, and, for the most part, Linux.

For more information, visit the LA Game Space Kickstarter page.


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RaiderZ officially launches this Tuesday

New giveaway contests and Thanksgiving-themed event to be held starting next week.

Publisher Perfect World has announced that RaiderZ will officially launch on November 20.

In addition, the publisher will be hosting new giveaway contests for next week as well as introduce a new Thanksgiving event in-game. The free-to-play MMO recently went through an open beta phase that started on October 24. More details can be found on the official site for the game.

RaiderZ is an MMO following the style of Capcom's action RPG series Monster Hunter; players will need to band up with other online characters to defeat giant monsters and craft weapons out of their loot. For more information, check out GameSpot's recent coverage on the title.

Jonathan Toyad
By Jonathan Toyad, Associate Editor

Born and raised from a jungle-laden village in Sarawak, Malaysia, Jonathan Toyad has been playing games since the early 90s. He favors fighting games, RPGs, and rhythm titles above every other genre, and occasionally spaces out like Pavlov's dog to video game music on his iPod.


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Epic Mickey 2: The Power of Two Review

Written By Kom Limpulnam on Sabtu, 17 November 2012 | 19.51

The Video Review

The magic paintbrush return in this video review for Epic Mickey 2: The Power of Two.

Epic Mickey 2: The Power of Two centers on intertwined themes of creation and destruction. Wielding a magical paintbrush, Disney's mascot runs through the crumbling Wasteland, conjuring pieces to make whole the fragmented land or erasing the few structures that still stand tall. Relationships are forged while others are shattered, and it's your choice whether you breathe life into Wasteland or let it sink further into disrepair. Lovable characters and iconic imagery urge you to take the high road, to create rather than destroy the elements that make up this magical kingdom, but it's impossible to escape the all-encompassing reach of destruction. All of your joy, and the effusive happiness the game exudes, is crushed under the avalanche of debilitating problems that tear Epic Mickey 2: The Power of Two apart.

Autotopia is a utopian society for cars, but a nightmare for humans (and mice).

Before The Power of Two can undermine your hopes, it introduces a story that embodies everything this disappointing game does right. The Mad Doctor swears that he has learned his lesson after years of fiendish scheming, and promises to repair Wasteland after earthquakes have torn the town asunder. Mickey, Oswald, and a cast of lovable characters express cautious optimism that the Mad Doctor has turned over a new leaf, and seeing their hesitant acceptance encourages a forgive-and-forget attitude that encourages even the rottenest people to better themselves. It's a story built on trust, and the intrinsic joy in every aspect of these cutscenes bubbles forth in toe-tapping musical numbers that give this adventure a cheery, happy-go-lucky vibe.

Once unleashed in this world, you have a choice in how you go about fixing up Wasteland. Objectives may nudge you in certain directions, but a wealth of side quests easily distract you for hours on end. Denizens line the Mean Streets, eager for a helping hand, and you must scurry in every mouse hole and hideaway to find the precious collectibles these poor characters desire. Slowly roaming this evocative land as Mickey is where The Power of Two is at its best. Happening upon a quiet burg populated by Captain Hook's most loyal pirates, or meeting Daisy Duck as she investigates mysteries for her television station, shows how lovingly Disney's world was incorporated. The game tugs at your nostalgic desires, which gives more weight to your choice in building up or tearing down this iconic land.

Jealousy tainted the uneasy pairing of Mickey and Oswald in the original Epic Mickey, but those green feelings have fallen by the wayside in this sequel. Now the two travel through Wasteland together, turning a solitary adventure into one that can be experienced cooperatively. Another player can jump in (or hop back out) at any point during the journey, and when you don't have a friend to travel with, Oswald follows right behind you like a distracted AI-controlled dog. But you'll want to take pains to bring a friend along whenever possible, because that discarded rabbit is an active hindrance to your progress when left under computer control.

Oswald has electricity at his fingertips instead of the magical paintbrush, and must use his kinetic powers to defeat enemies and trigger traps. Left to his own devices, he enters frays at his leisure, either conjuring an energy sphere to short-circuit a robotic foe or wandering helplessly nearby, shouting words of pain or confusion without bothering to help in your struggles. You may call him over to solve a puzzle only to have him obstinately disobey, or toss him inadvertently in the air when you just wanted him to zap a fuse box. Jump on a teeter-totter, and he's liable to follow you to the wrong side, thwarting your chance of reaching higher ground, and he has a nasty habit of standing between you and an enemy during combat, absorbing your paint attacks while complaining that you're hurting him. Oswald is a terrible companion, and his uneven implementation is symptomatic of the amateurish mechanics that infect this adventure.


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Video Review - Epic Mickey 2: The Power of Two

A damn shame but not a surprise.

As a side note, the audio on this video is a little, rough. Don't know what went wrong but sound levels are all over. maybe take a look at that guys? I only say that because its not the first time in the last couple of months where I've been watching a video on gamespot and the audios been all over.


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PS All-Stars Battle Royale characters DLC announced for early 2013

Written By Kom Limpulnam on Jumat, 16 November 2012 | 19.51

Gravity Rush's Kat and Starhawk's Emmett Graves will be free for download for the first two weeks.

Fans of Gravity Rush and Starhawk's lead characters--Kat and Emmett Graves, respectively--will be happy to learn that they will be selectable characters in PlayStation All-Stars Battle Royale early next year.

According to a Sony PlayStation blog post from Sony Santa Monica Studio lead game designer Seth Killian, the two characters will be available as DLC for free for the first two weeks of their release. Sony has yet to announce an official release date for the content.

Kat will use her gravity-shifting powers to move around the arena and will have more focus on aerial attacks. Emmett Graves will use his signature weapons as well as summon help from above, mimicking the 'Build and Battle' system from the game he's from.

PlayStation All-Stars Battle Royale will be out for the PS3 and PS Vita on November 20. Stay tuned to GameSpot for the full review.

Jonathan Toyad
By Jonathan Toyad, Associate Editor

Born and raised from a jungle-laden village in Sarawak, Malaysia, Jonathan Toyad has been playing games since the early 90s. He favors fighting games, RPGs, and rhythm titles above every other genre, and occasionally spaces out like Pavlov's dog to video game music on his iPod.


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Now Playing - CoD: Black Ops Declassified

Written By Kom Limpulnam on Kamis, 15 November 2012 | 19.51

 Sepewrath  DeadlyNinjas128 I can appreciate what you're saying, but I have opposed this argument from the days of the PSP for reasons of personal taste.Where you're right is in saying that Vita (much like the PSP back in its day) is attempting to appease a niche market. I happen to relate to that niche market of individuals who hate being tethered to a television. Although I am interested in finding out is whether or not that market can be increased, or whether its larger than what is generally anticipated.

While I don't outright disagree that I am approaching this from a non-mainstream perspective, I do believe that if more quality console-level ports were realised, more people would be willing to give the console a shot. Problem with the PSP was that it was a very poorly realised PS2 portable so people never really got to experience the idea in its fully realised form -- majority of the games and ports were utterly weak. PS Vita seems to present better hardware potential in closing the gap between the portable and the PS3/360 consoles capacity, but again, only time will tell how far they can get with the development and market appeal.

I do know that I certainly appreciated Ninja Gaiden Sigma Plus, which was something I was really thinking of getting for the PS3 but didn't quite get around the idea and decided to pass on it when I heard that it's coming out on the Vita and that for the most part--save for some very mild texture resolution changed and frame-rate caps--it was a very close port of the PS3 version. I think they should work on original content for the most part, but if ports come along, then they should really pick some solid ones that do their very best to match the console fidelity.


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Natural Selection 2 Review

Written By Kom Limpulnam on Rabu, 14 November 2012 | 19.51

Some games are easy to pick up and play. Others require you to learn, improving and developing skills as you go. The multiplayer-only Natural Selection 2 proudly sits in the latter camp. The latter camp isn't for everyone, and that's okay. But as long as a game is designed well enough to allow you to learn, improve and develop, it's always great to see one push the envelope and not rely on the most tried-and-tested formulas. Often, these games end up being some of the most refreshing, the most celebrated titles around. Natural Selection 2 is one such game. It isn't the most accessible game on the market, but if you put in the time, this deep and complex strategy/shooter hybrid rewards you with plenty of engaging variety and lots of thrills.

It's important to stress from the outset: if you're a first-time player, your initial enjoyment of Natural Selection 2 will be entirely decided by how prepared you are to learn new gameplay systems. There's no interactive tutorial; all the game offers is a series of lengthy demo videos. These aren't ideal, they don't open within the game interface, and it's a lot to take in should you choose to watch them all back to back before diving in. That said, by far your best bet in picking up Natural Selection 2 is to play Natural Selection 2. The way the game is structured makes it very easy to learn by doing. Certain servers (highlighted in green) are defined as rookie servers, providing a great place to get to grips with the game's many systems, ideally under the watchful eye of a more experienced commander.

The commander's role forms the RTS portion of the experience. Here, one player controls resource management, base building, and upgrades. The commander directs units, issues orders, and tells the team where to go and what to do. The best rounds of Natural Selection 2 see the commander using full voice chat, communicating with the team vocally as well as through the interface. A good commander isn't the only thing that can make NS2 appealing, but having a competent leader goes a long way towards making the game more enjoyable.

Thankfully, it's usually easy to find plenty of welcoming, communicative matches; after all, NS2 is very much a team game. There's absolutely no incentive to ostracize or punish teammates for a poor performance. The best commanders know that to win, communicating with and nurturing your team is key. The best way to learn how to play commander is by not playing commander. Take a hands-off approach, stick to one of the ground troops, and it's very easy to pick up what makes for a successful--and unsuccessful--commander. On top of that there's Explore mode, which lets you play around in the RTS interface with a vast amount of resources, and tool tips for each structure.

The commander is just one role, however, and the rest of the players have a diverse array of options to choose from. There's a lot here, and chances are, after a bit of experimentation, you'll find at least one aspect of the game you really click with. The best way to approach the game isn't to think of it as having an overall learning curve, but a number of smaller spikes; focus on one aspect of the game, and you'll learn plenty by way of observation while doing so. Thankfully, the game's been designed exceptionally well to allow this. Every facet of both the Frontiersmen (marines) and Kharaa (alien) sides is important. It's very much like Team Fortress in that respect: every role has its place and purpose.

The roles themselves vary considerably depending on which side you're on. The Frontiersmen are the more traditional of the two; rather than focusing on individual classes, weapon and equipment upgrades allow you to outfit your character depending on your playing style and the demands of the situation. Through the commander's resource management, new weapons are made available, including shotguns, flamethrowers, grenade launchers, and mines. Then there's the prototype lab, allowing the research and purchase of jetpacks and exos (think the loader from Aliens, but with the ability to punch and shoot). On top of that there are numerous other research possibilities. There's the arms lab that provides permanent armor and weapon buffs as long as the lab remains active, a robotics factory that allows for the creation of commander-controlled support units, and various individual objects such as teleports, enemy detectors, and sentry guns.

Of course, nothing comes for free, and all these goodies can only be bought with resources. For both teams, resources take the form of team resources and personal resources. Team resources are used exclusively by the commander to build, upgrade, and generally get things done. Personal resources are used to buy the items on the ground. Both types of resource are generated based on the number of collection structures your team has put in place (extractors for marines, harvesters for aliens).

It's unlikely your team will be able to afford every single bit of kit, so you have to choose your purchases carefully, and this adds a layer of strategy to all aspects of the game. A good commander will have a game plan, focusing on specific research and development to shape the team into a suitable side. Fancy building up a ton of defenses and sending a strike team to meet your opponent? Or perhaps aggressively expanding your base across the map, choking the opposing team and cutting off their potential resources?


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BioWare offers free copies of Mass Effect to Black Ops II players

Earlier today, it was reported that some gamers who purchased a PC retail copy of Call of Duty: Black Ops II also found a copy of Mass Effect 2 inside the box.

Responding to the report, Mass Effect developer BioWare has embraced the mistake, offering the first 50 players who can prove that they were affected by the shipping mistake a free PC copy of Mass Effect Trilogy.

"If you were one of the affected, chances are you thought it was a mistake, but we prefer to think that it was an omen, and when the universe talks, you should listen," BioWare wrote on its official blog.

"If the universe thinks that you should be playing Mass Effect right now, who are we to argue?"

To qualify, players must take a picture of themselves with their copy of Call of Duty: Black Ops II, and send it to BioWare. More details can be found here.

The issue has been reported by users on the official Call of Duty and Steam forums, as well as from gamers on Reddit. The cause of the error is unclear, though it appears to be related to a mistake made on the game's production line.


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New Marvel online game set for Asian regions

Disney Interactive signs contract with Korean developer Smilegate for upcoming multiplayer online battle arena title; will be out in 2014.

The multiplayer online battle arena space dominated by DOTA 2 and League of Legends may have a new contender.

According to site MMO Culture, Disney Interactive has signed a contract with Korean developer Smilegate (Crossfire) to create a MOBA title using characters from comic property Marvel. The game, dubbed Project PK, will only be targeted for Asian markets and will be out in 2014.

No other details are currently present. Smilegate has yet to get back to GameSpot for more additional information. For more information on recent titles featuring the Marvel license, check out GameSpot's coverage on Marvel Heroes.

Jonathan Toyad
By Jonathan Toyad, Associate Editor

Born and raised from a jungle-laden village in Sarawak, Malaysia, Jonathan Toyad has been playing games since the early 90s. He favors fighting games, RPGs, and rhythm titles above every other genre, and occasionally spaces out like Pavlov's dog to video game music on his iPod.


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Call of Duty: Black Ops II - Video Review

Written By Kom Limpulnam on Selasa, 13 November 2012 | 19.51

curse these game i just hope these game will not sell much and i hope a lot of hacker will start ruining their game and even better if most people start pirate that fucking game. Prepare for 1 year from now for COD modern warfare 4 and than 5,6,7,8,9,10 

BLACK OPS 3,4,5,6,7,8,9,10

World at War, 2,3,4,5,6,7,8,9,10

COD 2025, 2033, 2040, 2050, 2100, 3000

COD i want all of your money and rape you all until you broke CRRRR CRRRR CRRRRRRRRRITICAL BITCHHHHHHHH

SALVADOR OUT FUCK THESE GAME GO TO HELL


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Call of Duty: Black Ops II Review

Jetpacks with rigid wings. Gloves that can adhere to any surface and support your body weight. Advertisements that feature your face when you walk by. The campaign in Call of Duty: Black Ops II has some interesting ideas about the future of technology, but what about the future of this massively popular shooter series? On the one hand, Black Ops II introduces new mission types and dramatic decision points that liven up the campaign, as well as a league play option that represents a fundamental shift in the franchise's hallowed multiplayer mode. On the other hand, the campaign hits the same satisfying rhythms, the multiplayer captures the same frenetic intensity, and the cooperative zombies mode delivers the same stale undead-massacring action. Caught between striving for the future and remaining rooted in the past, Black Ops II finds solid footing, providing another great ride on the Call of Duty rollercoaster.

Bringing some CLAWs along for the ride makes things much deadlier for the opposition.

The ride starts off a bit rough as Black Ops II makes good on its pre-campaign warning of graphic content. Two early scenes linger on people burning alive, and while one ends up contributing to character development, the other is just gratuitous. Later cutscenes don't flinch from depicting gory violence, though of all the unpleasant sights you see throughout the story, the playful (and not at all gory) post-credits video might be the most appalling.

Fortunately, the campaign boasts an engaging story and a lot of entertaining action. It features the lead characters from the original Call of Duty: Black Ops, and though it references events from the past, a clear narrative thread emerges that is easy to follow. You jump between two time periods: the present, which is the year 2025, and the past, which spans about a decade during the Cold War. The narrative reflections of the elderly Frank Woods (a protagonist from Black Ops) weave these two timelines together, but the character that truly drives the story is the villain, Raul Menendez. During the Cold War missions, you follow Menendez's origin story and rise to power. In the 2025 missions, you desperately try to avert his catastrophic master plan. This parallel character development is deftly handled, infusing your missions with undercurrents of curiosity and urgency.

Things get even more intense when you are asked to make a choice. Press one button to kill a target, the other to let him live. The conditions of each choice vary and there are only a few of them, but even when you aren't responding to a prompt, you might be making a choice in a dramatic moment that will have consequences later. The main course of the campaign remains constant, but these decisions do affect the fate of some key characters. A few of these moments are sure to give you pause, adding some welcome weight to the proceedings, and there's a handy story rewind feature that lets you play earlier levels in order to see how different paths play out. There are also mission-specific challenges that give you ancillary goals to complete while you do so, further increasing the replay incentive.

You can also see some variance in the available strike missions, which are a new type of campaign level. These stages put you in a squad of soldiers and drones, and then let you choose which asset to control at any given time. Defending installations against enemy assault, escorting a convoy, and rescuing a hostage are some of the endeavors you might undertake. Though you have a team at your command, strike missions are still all about you gunning down foes. Your AI allies are only good at slightly hindering your enemies, so you end up doing the heavy lifting yourself, often while tracking activity on multiple fronts and hopping around to deal with advancing enemies. Having to consider the bigger picture is a nice change of pace for a series that has mostly involved just shooting what's in front of you, and these missions are a welcome shot in the arm for the familiar campaign pacing.

Of course, familiar as it may be, that pacing is still great. The campaign ebbs and flows as you move through a variety of diverse, detailed environments using an array of powerful weaponry to dispatch your foes, occasionally hopping into a jet or on to a horse for a short jaunt, or manning a missile turret to tame a swarm of hostile drones. A few neat gadgets and surprising gameplay moments satisfy the novelty quotient, but you still get the lingering feeling that you've done this all before. The new strike missions, dramatic decision points, and memorable villain help keep this concern at bay, however, and this fiesty, enjoyable romp is more enticing to replay than other recent Call of Duty campaigns.

Black Ops II's competitive multiplayer has seen some changes as well, notably in the way you equip yourself before going into battle. The COD points system from Black Ops has been ditched in favor of a new token system that still affords you some control over the order in which you unlock new weapons and gear. The more interesting change is the new loadout system, which gives you ten points to play with and assigns a single point to every element of your loadout (guns, attachments, perks, lethal and tactical items). It offers a bit of flexibility if, say, you don't use a sidearm much but could really use an extra perk, and the new wild cards allow some limited creativity. Put one of these in your loadout, and you can go into battle with two well-equipped primary weapons, or you can load up on perks and bring just a knife and your wits.

These are two extreme examples, but tweaking your loadouts with the gear you've chosen to unlock still confers a sense of getting more powerful and better equipped for combat. These are still the fast and deadly battlefields that have drawn millions of players for years. Positioning and reflexes are king, firefights are over in the blink of an eye, and success is rewarded with deadly equipment and satisfying experience gains. New gear, new weapons, and new score streak rewards are sprinkled throughout, offering new martial capabilities and strategic wrinkles. Traditional gametypes and a few rule-bending party games all offer familiar frenetic fun, but one new mode of play holds the potential to really shake things up.


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Valve working on new Source engine

Written By Kom Limpulnam on Senin, 12 November 2012 | 19.51

Earlier this month, Valve played host to a group of fans from website 4chan's /v/ community at the company's Washington studio. During an hour-long open question session, as reported by Valve community site LambdaGeneration, Newell provided candid answers on the Half-Life maker's business, the direction he believes the industry is moving in, and why he has no interest in exclusive content for Steam.

Newell began by setting the ground rules, asking fans, "So what do you want to know about that's not Half-Life 3?" Attendees queried whether Valve is already at work on a successor for its Source engine, and, if so, whether any follow-up would be an update to the existing software, or a fully fledged replacement. Newell responded by saying that the team "has been working on engine stuff for quite a while", though there were suggestions that the developer may be waiting for the right game to showcase the new technology.

On the topics of Kickstarter games, collaborative development, and where he sees the industry heading, Newell said, "The direction we're heading in now, not just Valve, but everybody…one thing you guys may not know is that the community generates about 10 times as much content for TF2 as Valve does. Even though that's all in pretty primitive stage still, my expectation is that all games will basically be about creating a framework for the community participants to build on top of it."

Newell also revealed why exclusive content is bad for business, saying that Valve has no interest in heading down that path, instead preferring to reap the benefits of organic growth to the digital space.

"A bunch of people have asked us, 'Hey, why don't we do an exclusive, and we won't ship on any of the other services; how much will you give us for being exclusive?' and we said, look, you know, it's bad for you, it's bad for us in the long run. We want lots of people to be innovating on these services. We'll [all] benefit if somebody has some great ideas."

Asked to confirm earlier "leaked" images reported to be Steam controllers, he clarified the company's interest in the hardware space. "We're working on controller designs," said Newell. "We have three controllers we're starting to do user testing on now. The reason we're doing controllers is we didn't think there was enough interesting innovation going on, and there are a bunch of reasons why we think that is happening. Even though we've never thought of ourselves as that, now we're trying to tackle the problems of designing controllers and games at the same time, and we're also trying to figure out how the Steam experience can extend into living rooms. The whole point is saying the things we all value about PC gaming, consoles should not be the only answer for that, so how do we make living room-friendly PCs?"

Finally, fans probed on rumoured and cancelled games, and were given sparse details. "We had an internal project called Stars of Blood, which was a space pirates game, but that never saw the light of day."

The full version of the video is available below.


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Playing Nice: EB vs. Aussie game publishers

We look at reports of a growing rift between Australian game publishers and the country's largest specialist game retailer EB Games.

Video game retail in Australia is under threat. The gradual shift away from established business models toward alternative platforms and delivery channels has changed the way that video games are sold, paving the way for a new generation of consumers fighting for a faster, cheaper, and more efficient way of doing things.

As the local market struggles to adapt to a global decline in physical game sales, the rise of digital distribution, increased online and mobile revenue, and more independent, confident consumers, reports of a growing rift between Australian game publishers and the country's largest specialist game retailer, EB Games, threatens to impact the long-term viability of video game retail in Australia, and with it the future of the local gaming industry.

In this feature, GameSpot will investigate the reasons behind the reported breakdown in communication between some local game publishers and EB, and how this asserted schism is affecting retailers, publishers, and consumers in Australia.

***

EB Games is Australia's largest specialist video game retailer, a position that has given the company the power to affect the way that Australian game publishers price, distribute, and market video games in the local market.

From an economic point of view, EB's business is stable. The retailer is currently operating just over 400 stores in Australia and New Zealand, and continues to grow its store presence across the two regions.

According to a US Securities and Exchange Commission (SEC) annual report, lodged by EB Games' parent company GameStop in March this year, EB achieved total sales of US$604.7 million in Australia and New Zealand in the fiscal year ending January 28, 2012, an increase of 7 percent year on year from 2011. The business also experienced a sales increase in the preceding 2010-11 period, with a revenue increase of 6.6 percent.

Several sources in the Australian video game industry who wish to remain anonymous have said that EB's position in the local market reflects this outlook. According to these sources, the retailer reportedly controls roughly 35-40 percent market share.

However, EB's dominance in the Australian retail market comes at a time of industry-wide uncertainty regarding the future of physical games. Figures showing a 19.5 percent year-on-year decline of physical game sales in the Australian market mirror similar reports from the US, European, and Japanese markets, which collectively show that the global video game retail market has suffered three consecutive years of software sale declines, a trend that many market analysts blame on an uncommonly long console cycle that has produced far too few new intellectual properties to bolster consumer interest.

The effect on the Australian game retail market--small by comparison to that of the US, Europe, or Japan--has been disastrous. In March this year, UK video game retailer Game Group--which runs both GAME and Gamestation stores in the UK and mainland Europe--went into administration. The Australian branch of the business quickly followed, shutting down all of its Australian stores and letting go more than 280 employees.

GAME's fate in Australia secured EB Games as the largest specialist video game retailer in the country, a position that has landed the retailer in trouble with Australian video game publishers, who claim that EB has taken unfair advantage of its position, particularly in regards to grey importing.

Speaking under the condition of anonymity, several sources working for different game publishers in Australia accused EB of "bully tactics". One source close to a local publisher claimed that the publisher was forced to downsize its Australian business due to reduced local sales as a direct result of EB and other game retailers grey importing in the Australian market. In another instance, several sources currently working for different Australian-based publishers described different exchanges in which EB allegedly told some publishers to lower the selling price of their games or risk EB walking away from the deal, or instances in which EB allegedly demanded an exclusive offer under the threat that if publishers did not comply, EB would grey import the games in question.

As a business measure, grey importing involves the acquisition and sale of goods through unofficial--although not illegal--channels. In the game retail market, this means the sale of game stock obtained from other countries instead of local video game publishers and distributors, often at a cheaper price. Money saved through grey importing certain stock also allows some game retailers to attract more customers through lower prices, a measure that has become particularly widespread in Australia, where consumer business is dominated by one or two specialist game retailers, and not all international publishers are represented (so while publishers like Sony, Microsoft, Nintendo, EA, and Activision have a local Australian presence, other publishers like Capcom and Valve do not.)

Grey importing has reportedly been a point of dispute between Australian game publishers and EB Games since the retailer confirmed earlier this year that it is importing overseas video game stock to sell in its Australian stores.

"There are rare times when stocking product from a local vendor is not a feasible option, and stock needs to be obtained elsewhere," EB Games told GameSpot in May. "This is something that our vendor partners are aware of."

While grey importing has advantages like lower prices and earlier release dates, the practice of importing video game stock from overseas can have a severely negative impact on video game publishers and distributors operating in Australia. For example, if a publisher cannot sell a game to a local retailer, it can mean that the game will receive no international support from the publisher; no localised special editions, no visiting developers, no local community events or support.

The Interactive Games and Entertainment Association (iGEA), which represents Australia's video game publishers and distributors, looks upon grey importing with a sceptical eye, saying that the practice takes away from locally generated revenue.

"Wholesale parallel importing does have a direct impact on local publishers, distributors, and the companies who support them," iGEA CEO Ron Curry told GameSpot in May.

"The revenues generated locally support not only local employment, but fund marketing, in-store displays, advertising, classification obligations, etc. Without this local level of support, retailers in Australia will see a direct impact on their business, as will consumers and other local businesses who survive by supporting the Australian video game industry."

A source who works for an international game publisher in Australia refuted EB's earlier claims that the retailer told publishers about its grey-importing measures. According to the source's own experience with EB, the retailer does not inform publishers about its intentions to grey import video game stock from other territories. Speaking under the condition of anonymity, the source said that grey-importing measures employed by EB and other game retailers in Australia leave publishers with an increasing amount of unsold stock and less profit to operate on.

Australian retailer JB Hi-Fi also confirmed its grey-importing measures in May, telling GameSpot that it orders some of its popular video game stock from overseas in order to provide consumers with a more competitive price on games. However, the retailer did not provide a comment when asked by GameSpot about whether its grey-importing measures are communicated to video game publishers and distribution partners in Australia.

While JB Hi-Fi declined to comment further on its relationship with game publishers and distributors in Australia--telling GameSpot that the information is regarded as "commercially sensitive"--the majority of sources who spoke to GameSpot for this story claimed that JB Hi-Fi maintains a good working relationship with game publishers in Australia. The same sources also reported that JB's grey-importing practices have less of an economic impact on game publishers than those of EB.

***

Grey importing is not the only sore point for the Australian game publishers that GameSpot spoke to where EB is concerned.

The same sources also described numerous instances in which EB allegedly demanded exclusive content from publishers when ordering a particular game, a demand that, according to the sources, must be financed out of the publisher's own pocket, which can often prove to be expensive.

The practice of demanding or requesting exclusive content from game publishers is one that, according to US industry-specific market research firm Electronic Entertainment Design and Research's (EEDAR) Jesse Divnich, is an industry standard.

"I wouldn't say EB Games or GameStop are threatening anyone," Divnich told GameSpot. "It is definitely in the best interest of both the developer and publisher to create awareness and buzz via exclusive in-game content. When a retailer controls more than 30 percent of the physical distribution market, it should be expected that they request certain advantages, especially for GameStop, who has the most hardcore and loyal consumers."

Speaking to GameSpot for this article, EB merchandising director Shane Stockwell said the retailer's current relationship with video game publishers in Australia is "excellent".

"We pride ourselves on working hard to find win-win outcomes for EB Games and the local publishers," Stockwell told GameSpot."We work with very long lead times with publishers on almost every product. It helps being a specialist, as we love what we do and we understand what is important in regards to content and packaging."

Referring to its current position in the market (but refusing to disclose the exact market share percentage that EB currently holds), Stockwell said that EB's pre-orders for the upcoming period are at record levels. According to Stockwell, this is a result of the retailer's focus on growing its digital channels and continued focus on its pre-owned business, which he said is important to the overall health of the video game industry.

While a lot of sources that GameSpot spoke to for this article wished to remain anonymous, Mike Westrup, the managing director of New Zealand-based consumer electronics distributor Monaco, agreed to speak on the record about his company's relationship with EB Games. Monaco was once one of the largest video game distributors in New Zealand, looking after publishers like Sega, Nintendo, THQ, Ubisoft, and Disney.

In March 2011, Monaco made the sudden announcement that it would be exiting the video game distribution market altogether. While the company did not provide a reason for its sudden departure at the time, Westrup now says that the company's relationship with EB Games was one of the reasons why Monaco exited the gaming market.

"We never had a favourable working relationship with EB," Westrup told GameSpot. "They are difficult to work with. They use their position in the gaming market to get their own way. They're successful, too, because they employ bully tactics."

According to Westrup, EB refused to pay Monaco for gaming products that the retailer had already received and sold, until Monaco could provide EB with a further discount.

"We had already given them [EB] help in clearing slow-selling product," Westrup said. "So we demanded payment, which we eventually received. We had great relationships with major retailers in both New Zealand and Australia, so why give a bully like EB such a huge advantage over their competitors?"

Westrup said EB approached Monaco's gaming suppliers, who then withdrew their support from Westrup's company. With Monaco's distribution margins unable to support further discounts, the distributor decided to bow out of the gaming market.

"The gaming division was a low return on investment division within the group," Westrup said. "EB simply brought forward the decision to exit."

GameSpot approached EB for comment following Monaco's claims about EB's conduct. The retailer had this to say:

"Monaco is a distributor for many products and companies, most of which are not video game-related, and many of whom have changed over the years," EB regional director for Australia and New Zealand Michael Stocker told GameSpot.

"Monaco blaming their failure to make a successful business of distributing one product type on a single customer--as you have claimed--is disingenuous in the extreme. I think Monaco's failures in this area of business have more to do with them than their customers. For the record, EB Games denies any wrongdoing in their relationship with Monaco."

The accusations levelled at EB Games lead to questions surrounding the nature of relationships between game retailers and game publishers. Why are they so important? Does a game retailer like EB have a responsibility to look out for and protect the interests of local game publishers and distributors as well as its own? Or is it within every business' right to safeguard its own interests above all else?

iGEA's Ron Curry said the whole industry model disintegrates when publishers and retailers stop working together.

"Though not without its tensions, which is expected in a competitive environment, the whole distribution chain exists for a common goal: to get games into the hands of consumers as efficiently and effectively as possible," Curry told GameSpot. "This is only possible with a shared respect for each other's part in the chain."

***

It's not just EB that's being blamed for contributing to this growing rift between Australian game retailers and publishers.

A former EB Games member of staff who wished to remain anonymous observed the breakdown in relationships between EB and local game publishers and distributors while still working for the retailer. However, the source said it was game publishers, not EB, that first put strains on the partnership.

"As EB's position in the market grew (both in revenue and in the number of stores it opened across Australia), so too did their business with local game publishers," the source told GameSpot. "But the publishers soon became uncomfortable with EB handling such a large percentage of their stock."

The source said that game publishers in Australia began to offer other Australian retailers special deals without telling EB, gradually trying to increase their profits by pushing up the cost price of games to a recommended retail price (RRP) of A$109 or greater, a move that had the potential to cut into EB's own profit margins at a time when the acceptable street price for games was below A$99.95. (The source said EB was used to paying publishers A$68 to A$78 for games with an RRP of around A$99.)

"This wasn't very fair to EB. In all the time I was there, EB didn't demand anything outside of what anyone else was getting due to their size, and suddenly, they were being blindsided. It created a real feeling of frustration between EB and the publishers."

The source also said that EB had strict policies regarding grey importing, considering it as an option only when a particular game was unavailable in Australia. The source said that this policy was driven by EB's desire to protect its relationship with local publishers, something that may have disintegrated.

But while the source defended EB's core values as a company, they believe that the retailer could be doing more to patch up this relationship.

"There's still a chance to mend this relationship. Publishers should communicate equally and fairly to each retailer, and EB should be open to working with them."

The former EB employee said that the future of game publishers in the Australian market is "entirely dependent" on their ability to maintain a healthy and amicable working relationship with a specialist retailer like EB, whose position in the market is strengthening. For its part, EB must recognise that it has a key role to play if any reconciliation is to be attempted.

"Publishers have to stop acting like they're dealing with the devil, and recognise that what is happening is in fact a commercial reality: EB will survive in the market no matter what happens. It has a business model that can adapt to anything. Whether they'll be selling games, or whether games will only make up 30 percent of EB's business in 10 years' time depends on the market.

"Both parties have to sit down, shake hands, and work out a solution. It can be done."

Most of the industry sources who spoke to GameSpot for this story agreed on the fact that EB Games needs to work alongside--not against--video game publishers to find a viable solution for moving forward: things like sharing marketing costs, finding a way to reach out to consumers together, and helping each other overcome the falling video game retail market.

The future of the Australian gaming industry depends on it.


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