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Showing posts with label nothing. Show all posts
Showing posts with label nothing. Show all posts

Thursday, November 8, 2012

T-Shirt of the Day - Duck Hunt

What happens when birds fight back? Nothing good, if "Birds" was any indication.

But today's shirt of the day brings good news - the ducks might not be after us when they eventually rise to power. In fact, we may share a common enemy - the world's most annoying dog.

You know, on second thought let's wait and see how this plays out.

Duck Hunt:

Threadless - $20 + shipping

Yesterday's Shirt:

Viva el Master Che

Jon Fox is a Seattle hipster who loves polar bears and climbing trees. You can follow him on Twitter and IGN.


Source : ign[dot]com

Monday, October 15, 2012

Sir Roger Moore: "Daniel Craig Is The Best James Bond Ever"

Sir Roger Moore has predicted that Skyfall is going to be a huge hit following a private screening over the weekend, and has nothing but good things to say about the incumbent 007.

Speaking at "An Evening With Roger Moore" at the Rose Theatre in Kingston-Upon-Thames last night Sir Roger revealed, "I was invited on Saturday morning to a private screening of Skyfall. Now, I have always said that the best Bond was obviously Sean [Connery], but I’m happy to say when Skyfall is released on October 26, it is going to be the biggest [Bond film] there has ever been in the cinema, and he [Daniel Craig] will go down as the best Bond in history. It is fantastic."

Speaking to packed house on the former 007's 85th birthday to promote his new book Bond on Bond, Sir Roger went on to reveal how he had always backed Craig to make a big impact, "Before I saw Skyfall, I felt very angry about the way that the English press treated Daniel Craig. Before he’d started [Casino Royale] they predicted doom and gloom and they criticised him. I used to write letters of support to him, and I was so pleased when I saw Casino Royale because he was truly excellent in it. He’s a wonderful actor, if you’ve seen Munich or In Cold Blood, you know he’s a terrific actor."

We also happen to agree with Bond No. 3 as you'll find out in our Skyfall review here.

Bond on Bond by Sir Roger Moore is out now. Skyfall is in UK cinemas on October 26, and US cinemas November 9.

Tom is IGN's Social Media Editor and his favourite Bond is Timothy Dalton, come at me bro. You can stay abreast of his current pet peeves by following him on IGN and Twitter.


Source : ign[dot]com

Wednesday, September 26, 2012

Elementary: "Pilot" Review

Advance Review: The idea of updating Sherlock Holmes is nothing new. It's not even new for CBS, which has twice before aired modern-day series based on Sir Arthur Conan Doyle's iconic detective (The Return of Sherlock Holmes in 1987 and the radically differently titled Sherlock Holmes Returns in 1993). But this latest iteration is notable for coming out at a time when Holmes is enjoying a resurgence on screens both big and small. Tempted as I am to compare and contrast Elementary's version of Sherlock Holmes to the recent Guy Ritchie film franchise or the Steven Moffat series (still my favorite) or even Hugh Laurie's Dr. House, I'm going to try and stick to evaluating the premiere on its own merits.

But let me just say this before moving on - if you enjoy Elementary and you haven't yet seen Moffat's Sherlock, starring Benedict Cumberbatch, track it down and watch it immediately. You won't be sorry. Then you can come back to Elementary and bask in the notion that there will be a fourth episode a week after the third, and then another one after that, and so on for likely 13 episodes at the very least, and probably 22 in one whole year if it gets a full-season order. Of course, just those 13 would be more than twice as many episodes as Sherlock has had in its two seasons combined.

The case that kicks off the series is a standard murder mystery, with twists and turns no more surprising or extraordinary than those you might find on Law & Order, or any other procedural show (and not, as far as I know, based on any particular Doyle story). What sets Elementary apart is the enigmatic personality of Sherlock Holmes (Jonny Lee Miller) himself and the unique way he reacts to his surroundings. He leaves rehab early to offer his skills as a consultant, free of charge, to the NYPD via a former colleague, Captain Gregson (Aidan Quinn). Worried about his son's rash actions, Holmes' father --- unseen for now, though producers say we will meet him -- hires a "sobriety companion" to follow him around and make sure he doesn't use. That companion, of course, turns out to be Joan Watson (Lucy Liu), a washed up surgeon who finds that solving murders is a lot more fun than glorified babysitting.

Miller gives us a more emotionally vulnerable Holmes than we've seen before. He's had his heart broken and is recovering from drug addiction, exiled to New York for the convenience of an American television show. These scars are close enough to the surface they sometimes get in the way of the cold, robotic analysis we're used to seeing from the ultimate detective. He still makes instant appraisals of total strangers based on deductive reasoning but, at least in the pilot, it's often as much a trick of smoke and mirrors (and Google) as it is the unrestrained tick of a genius mind. This Sherlock is good at looking like he has a master plan, even when he's just losing his temper. He may not always be in control, but it seems like he is. And if there's one thing Miller is good at, it's looking cool.

As fascinating as he is, we can't truly appreciate Holmes' intellect without Watson by his side to serve as an exposition device, someone to ask, "How did you know that?" Liu's Watson is quite capable, almost his equal. She even picks on clues he misses. Based on this first episode, it doesn't seem like the show will immediately be exploring a romantic angle between the two, but by casting a woman as Watson the door will always be open for that possibility. So far, I like platonic working relationship the two have established in the pilot, even if it is muddied by the fact that Watson's loyalties are divided between Sherlock and his father. I hope the writers can resist messing with it for a while - and for what it's worth executive producer Robert Doherty says he doesn't intend to make things romantic between Holmes and Watson. Regardless though, that relationship will keep viewers coming back to the show more than the weekly cases, I suspect.

Speaking of the cases, it's worth pointing out that it isn't just the other versions of Sherlock Holmes that Elementary has to contend with, but all the other procedural shows on television now as well. This kind of detective storytelling has become so formulaic it's difficult to be original or shocking. The first hour does a good job of introducing us to a new Sherlock, but I predict the ongoing challenge of making this show will be to keep the storylines as smart as the main character.

Elementary premieres Thursday, September 26th at 10pm on CBS.


Source : ign[dot]com

Batman: The Dark Knight #0 Review

Move along, nothing new to see here. You like Batman? You've seen the Batman movies and read some Batman comic books? Then you know this story. Sure, this little take is well written and has a nice flow, but come on. Joe Chill? We know this DC. Everyone knows this. Let's get back to that Scarecrow story; it wasn't great but at least it wasn't the story of Crime Alley all over again.

Gregg Hurwitz is a really great writer. He has a great sense of pacing and dialogue. He is really the sole reason that Batman: The Dark Knight has become a decent monthly comic book. He uses his sizable talent to tell the tale of young Bruce Wayne's search for his parents killer or killers. Spoiler: it was Joe Chill and there was no conspiracy. But you knew that. Batman's flagship title even went over this during the Court of Owls storyline. All the talent in the world doesn't make a story we have heard a hundred million thousand times before not boring. This is boring.

For reasons unknown, DC also decided to split this issue between two very different artists. It kills the flow of the issue. Mico Suayan and Juan Jose Ryp are both great artists, but their styles look absolutely nothing alike and do not mesh. When Juan Jose Ryp suddenly takes over, it feels like you are reading a different comic book. Sure, it's another nicely written and good looking comic book, but it still feels different. One of these guys should have done the whole issue. Splitting the issue up between to two of them makes about as much sense as retelling the story of Crime Alley. So, in a weird way, I guess it makes perfect sense that DC did this.

Benjamin once had Taco Bell for Fourth Meal AND Fifth Meal. He is survived by his wife and children. Follow Benjamin on Twitter, or find him on IGN.


Source : ign[dot]com

Monday, September 24, 2012

The Avengers: Earth's Mightiest Heroes - "Code Red" Review

Warning: full episode spoilers follow.

This week's episode of Earth's Mightiest Heroes was nothing if not ambitious. "Code Red" was a loose adaptation of the comic book storyline of the same name (penned by Geoff Johns in a rare foray into the Marvel Universe). But it also brought Red Hulk back into the forefront as well as exploring the mystery of Winter Soldier and his connection to Captain America. Needless to say, the script bit off a bit more than it could feasibly chew in the span of 22 minutes, but "Code Red" was entertaining nonetheless.

The episode got off to a strong, slightly creepy start as Red Skull's virus spread and morphed all it touched into sickly, red-skinned, almost zombie-like creatures. This was some unusually creepy imagery for an animated superhero series, and it lent a nice darker edge to the episode. Unfortunately, the scope of Red Skull's attack was very limited compared to the original story. Rather than being a global pandemic, the Code Red virus only impacted the Avengers and the Manhattan civilians in the immediate vicinity. Ideally, this conflict could have been spread across multiple episodes, with one devoted to the Avengers battling against and ultimately succumbing to the virus, and the second shifting focus to Secretary of State Dell Rusk and his gang of superhuman enforcers.

It was strange seeing Doc Samson, Red Hulk, and Falcon relegated to what essentially qualified as hired muscle. The writers seemed inspired by Jeph Loeb's Hulk work in both the brawl between Red Hulk and Thor and the fact that Red Hulk was a member of a team comprised solely of characters who wear red costumes. Luckily, all three contributed to some memorable action scenes. The highlight was easily the Red Hulk/Thor battle, which was fierce enough to literally rock the Statue of Liberty on its foundations. Falcon showed his bad-ass side as well in the fight with Hawkeye, which should help win him some new fans in advance of his starring role in the upcoming Avengers Assemble series. Lance Reddick's vocal work certainly didn't hurt. Reddick, Fred Tatasciore (Red Hulk), and Steve Blum (Red Skull) all delivered memorable performances this week.

But again, the script was juggling more material than it could really handle, and the final minutes were really weighed down by the rush to the finish line. Winter Soldier's transition from loyal minion to Cap's savior was abrupt, to say the least. There wasn't even much indication as to what turned him against Skull. Red Hulk quietly vanished, while Samson's recent misdeeds were quickly explained away as a product of brainwashing. In the final moments, the Avengers discuss the downfall of Dell Rusk's political career and the resulting swell of public support for the Avengers, but this is all material that might have worked better if it were shown rather than told to viewers. Ultimately, Code Red either required more running time or a more narrow focus on Cap, Winter Soldier, and Red Skull.

Luckily, this isn't the end for these particular plot threads. Next week's episode will delve deeper into the Winter Soldier mystery, while the following installment (whenever Disney XD chooses to actually air it) will finally bring Hulk back into the fold and reveal Red Hulk's secrets. We're entering the final stretch for this series, and it looks to be an eventful time for Avengers fans.

Jesse is a writer for IGN Comics and IGN Movies. Allow him to lend a machete to your intellectual thicket by following Jesse on Twitter, or on IGN.


Source : ign[dot]com

Friday, September 21, 2012

Hero Worship: Darth Vader Still Rules

I’ve got nothing terribly profound to discuss this week, so I wanted to take some time to showcase something that I think has been underserved in the comics community.

Earlier this week, I was pleasantly surprised by the conclusion of Star Wars: Darth Vader and the Ghost Prison, the latest mini-series from Dark Horse Comics to spotlight the beloved Sith Lord in all of his glory. There are tons of Star Wars comics on the market these days, but Ghost Prison is the first in quite some time that captures everything I adore about the franchise. I wouldn’t hesitate to say that the comic did more to push the boundaries of the series than any of the sequels/prequels, save Empire Strikes Back.

Check our reviews for Star Wars: Darth Vader and the Ghost Prison!

Darth Vader and the Ghost Prison is set months after Episode III as the Empire has taken hold of the galaxy and have begun to expand radically, training recruits at a rapid pace. The story centers around an Imperial cadet named Tohm that finds himself in the midst of rebellion and soon, fighting by Vader’s side. The story that ensues is not the typical Star Wars tale of black-and-white morality but instead a complex and tragic exploration of an average man’s loyalty to his leaders.

And though Tohm is in the spotlight, this series serves to underscore the ruthlessness of Darth Vader that we really only ever hear about in the films. By the story’s conclusion, we’re given a new appreciation for the coldness of Vader’s character that, after decades of exposure and perhaps even overuse, we have started to forget.

While I’m a fan of the prequels, they don’t do much in the way of showcasing Vader’s assistance in constructing the Empire. By the time we get to Vader in A New Hope, he’s more or less Tarkin’s lackey. And when Return of the Jedi rolls around, the series has shifted to portray Vader as a far more sympathetic character. Only in Empire do we see Vader as a true villain that transcends his cool look and becomes something terrifying. But most of his horrible past deeds are done off screen.

I’ve never really found myself reading licensed comics for anything other than continuing the adventures of some favorite characters. For the most part, they exist not to progress or expand these characters but rather to simply let them keep on living. In fact, the licensed comics that directly involve characters from the movies or TV shows (as opposed to peripheral characters or new characters set in the same universe) are essentially locked into the established continuity. In some cases where the comics are continuing a story – like the Buffy or Smallville comics – continuity is less restricting because it only needs to adhere to the past.

In the case of Star Wars, Vader’s tales need to adhere to the past and the future, which you’d think would be limiting. Instead, the Ghost Prison mini-series takes full advantage of our knowledge of where Vader’s been and where he’s going, and instead uses it to flesh out this character. Because of this story, I’ll never look at Vader’s relationships with the other Imperials in A New Hope the same ever again.

Alongside things like The Force Unleashed, I have a greater appreciation for the power of Vader’s character than ever before, most notably his power of manipulation. You know when Admiral Motti steps to Vader in that Death Star roundtable scene? The tension is retroactively even greater because I know what Vader is capable of doing to his allies to benefit his own cause.

I guess what I’m saying is, licensed comics should dare to do more with the characters, and those who license them should encourage it. Ghost Prison proves that there is plenty of room for growth and exploration within even the most confined spaces of continuity. In the meantime, I urge you to give this book a try – no matter how jaded about Star Wars you’ve become.

And if you’re jaded, stop. Star Wars still rules.

Joey is IGN's Comics Editor and a comic book creator himself. Follow Joey on Twitter, or find him on IGN. He will love Star Wars until the end of his days.


Source : ign[dot]com

Thursday, September 13, 2012

Meat Playground takes down Orbit 2-1

League of Legends Match Review: Meat Playground vs. Orbit Gaming

This Best of Three series left nothing to be desired. These teams packed all 3 games with action from the moment they started. The meta was not challenged by the tactics of these players. Strategy and coordination are what won this match. The players are reaching new heights of personal skill. These teams will continue to improve their game and raise the level of competitive play in League of Legends.

Game 1: Meat Playground Victory

Meat Playground had first pick and wanted to make an aggressive statement immediately in the match. They banned the strong CC of Alistar, followed by the mid lane and team fight strength of Twisted Fate and Zyra. Meat Playground picked Morganna for a safe mid, and a Cho’gath top lane with a support Blitzcrank to secure the endgame. Orbit wanted to rely on a counter pick to allow their mid lane to dominate. They banned the top lane strength of Shen. Malphite, and Vladimir. Orbit then took the safe Jayce pick for top, Gragas in the middle, and Sivir to win the bottom lane.

The players of Meat Playground were out for blood, and secured first blood before minions spawned with a 2-for-2 trade. Both teams stuck to their guns using aggressive tactics to take down the first 2 towers before 5 minutes thanks to a lane swap from Orbit. Meat Playground soon took the lead with some strong team coordination. LightSludge secured several kills and had a large item advantage that he used to give his team a large lead. Meat Playground made some catches and team fights happen and closed out the first game with a major item advantage.

Game 2: Orbit Victory

Orbit took first pick in game 2 and looked to ban out what defeated them in the previous game. They banned the epic hooks of Blitzcrank, the fed terror of Ezreal, and the standard Malphite. Orbit then picked a double AP composition with Vladimir and Ahri, followed by the ganking potential of Skarner. Meat Playground was confident after their victory and decided to try some uncommon picks. They took out the potential first pick of Nunu, along with the standard Alistar and Shen. Meat Playground picked Rumble to win the top lane, Maokai to counter the fast ganks, and Mordekaiser to see what he is capable of.

Game 2 did not have the same ignition as the previous game. The teams did not warm up until first blood happened in bot lane, ending in a 1-for-2 for Meat Playground. Skarner made his presence known with constant appearances in all of the lanes. Orbit was still pressured in the lanes despite the efforts of their jungle player. Soon these efforts paid off and allowed Orbit get the positioning they needed to take an advantage in the game. Orbit quickly took control of the map with oracles and took a huge lead through forced fights and face checks. Meat Playground found themselves insurmountably behind and surrendered.

Game 3: Meat Playground Victory

Meat Playground had first pick and needed to get their valued picks to win the game and the match. They banned Alistar, Twisted Fate, and the Skarner that gave them trouble in the last game. Meat Playground picked the Nunu and Morganna that were key to their game 1 victory, along with Olaf to play it safe in the top lane. Orbit had taken the momentum in the match and wanted to close it out quickly. They banned the Ezreal that did so much in game 1 followed by the standard Shen and Vladimir. Orbit went with a Malphite top, the successful Ahri mid, and a blind Lee Sin in the jungle.

Meat Playground wasted no time in turning up the heat in game 3. They went right into the enemy jungle and slowed down the early game strength of Orbit’s team composition. Orbit went with another lane swap and successfully shut down Olaf early in the game. Morganna was a major threat to Orbit and they sent their support to the middle lane to assist Ahri. Pobelter would not be stopped and picked up a quadra kill with only a tower to aid him. Meat Playground started grouping up and used their strong team fight to take objectives and force poor position from Orbit. Orbit had no answer to the coordination of Meat Playground and lost out to a rushed baron followed by 1-for-4 team fight and victory in game 3.

Player of the Match: Eugene ‘Pobelter’ Park

The mid lane is the center of the rift and the action whenever Meat Playground takes the field. Eugene ‘Pobelter’ Park can play what his team needs and stun spectators with unusual tactics. What he does best is be there when his team needs him. Even his champions roster changes to what best benefits his team. Meat Playground has a bright future ahead of them with Pobelter backing up their plays.

Conclusion

These teams gave it their all in a chance at the IPL5. They tested their abilities and kept it close to the last second. Meat Playground showed that they have what it takes to challenge the best teams on the scene. Orbit has some solid victories over the best teams, but showed that they still have room to improve. The conventional meta was not challenged. The balance was not strained. These teams displayed a true competitive treat to the avid LoL follower.

That’s it for today’s review. We hope you will join us tomorrow for more exquisite League of Legends action.


Source : ign[dot]com

Wednesday, September 12, 2012

Joss Whedon's S.H.I.E.L.D. TV Series to Feature New Characters

While at the Toronto International Film Festival promoting his film, Much Ado About Nothing, Joss Whedon sat down with MTV News and revealed that the Marvel S.H.I.E.L.D. TV series that he's currently developing is "very far" along in the developmental process and that he's already pitched it to ABC - with new S.H.I.E.L.D. characters in place of Nick Fury, Agent Coulson and Maria Hill.

Click the pic to watch the interview over at MTV.

One of the things fans have been speculating about is how involved would Fury and the rest of the S.H.I.E.L.D. team, most recently seen in Whedon's The Avengers, would be on a week-to-week TV show.  Budget-wise and availability-wise.  So this idea of new agents and characters answers that question.

"It's new characters" Whedon stated. "It needs to be it's own thing. It needs to be adjacent, but you don't want to do a show where you're constantly going, 'Iron Man just left, but he was totally here a minute ago.' You want them to do their own thing. What does S.H.I.E.L.D. got that the heroes don't have? To me, it's that they're not superheroes. But they live in that universe. Even though they're a big organization, that makes them underdogs and that's interesting to me."


Source : ign[dot]com

Tuesday, September 11, 2012

Lionsgate Buys Whedon's Much Ado About Nothing

Lionsgate and Roadside Attractions announced today that they've acquired filmmaker Joss Whedon's Much Ado About Nothing, a contemporary adaptation of William Shakespeare's classic comedy.

Unlike his blockbuster The Avengers, Much Ado is a low-budget indie shot in black & white. Whedon filmed it in less than two weeks at his home upon completing Avengers. It's the first production of his micro-studio Bellwether Pictures.

The film, which screened at this week's Toronto International Film Festival, stars such Whedon veterans as Amy Acker, Alexis Denisof, Nathan Fillion, Fran Kranz, Jillian Morgese, Sean Maher, Clark Gregg, and Reed Diamond.

“I’m thrilled to be working with my cronies at Lionsgate again, and with The Roadside team," said Whedon in a statement. "That they all embrace a Shakespearean romance with the same enthusiasm they had for 'Cabin in the Woods' shows that they’re exactly the mad fools we want to be partying – I mean working – with.”


Source : ign[dot]com

Friday, August 31, 2012

Insomniac Reveals New Game Title: Fuse

At today’s PAX keynote address, Insomniac Games CEO Ted Price revealed a new IP. It’s called Fuse, and we literally know nothing else about it other than the image shown while discussing the game: a man fighting some sort of robot.

Interestingly, a website for the game may already exist. If you head to FuseGame.com, not only is the website active, but there’s a countdown clock on it. The countdown clock is up on September 12th. What could it all mean?

An analysis of FuseGame.com’s WHOIS reveals very little, unfortunately. The domain was originally registered back in August of 2006, but was last updated only three days ago. The company that registered the domain is based in Scottsdale, Arizona, while Insomniac Games is located in Burbank, California.

Hopefully, we’ll hear more about Fuse soon.

Colin Moriarty is an IGN PlayStation editor. You can follow him on Twitter and IGN and learn just how sad the life of a New York Islanders and New York Jets fan can be.


Source : ign[dot]com

Thursday, August 23, 2012

Halo 4 Achievement List Revealed

Halo 4's achievement list has been revealed by developer 343 Industries, offering some slim insight into what tasks we'll undertake in the game.

Beware of spoilers below. There's nothing too soul-shatteringly revelatory, but don't say you haven't been warned.

Developing and designing these game-specific challenges might seem simple but is quite a bit more complex once you begin digging into the psychology of a gamer.

The achievements on offer were revealed in an update on Halo Waypoint by community manager Jessica Shea, who also explained some of the reasoning that went into the achievements' design.

"Developing and designing these game-specific challenges might seem simple but is quite a bit more complex once you begin digging into the psychology of a gamer," she shared.

"Our primary goal when creating Halo 4’s achievements was to reward milestones and increase replay value while balancing both difficulty and the breadth of game modes.

"Our secondary goal was to live up to Halo tradition with weird ass names for some of them (hello, The Dongblainer!). While you will only be able to speculate on the exact nature of some of these achievements, here’s a peek at their very basic in-game descriptions."

So, without further ado, the achievements you'll be testing your Spartan training to breaking point to achieve are:

  • Dawn - Complete Mission 1 on any difficulty - (10 Points)
  • Requiem - Complete Mission 2 on any difficulty - (10 Points)
  • Forerunner - Complete Mission 3 on any difficulty - (10 Points)
  • Infinity - Complete Mission 4 on any difficulty - (10 Points)
  • Reclaimer - Complete Mission 5 on any difficulty - (10 Points)
  • Shutdown - Complete Mission 6 on any difficulty - (10 Points)
  • Composer - Complete Mission 7 on any difficulty - (10 Points)
  • Midnight - Complete Mission 8 on any difficulty - (10 Points)
  • Wake up John - Complete the Campaign on Normal or harder - (20 Points)
  • I Need a Hero - Complete the Campaign on Heroic or harder - (40 Points)
  • The Legend of 117 - Complete the Campaign on Legendary difficulty - (70 Points)
  • Lone Wolf Legend - Complete the Campaign solo on Legendary difficulty - (90 Points)
  • Skullduggery - Complete any Campaign mission with 3 or more Skulls on Heroic or harder - (15 Points)
  • Bropocalypse - Complete any Campaign mission co-operatively on Heroic or harder - (10 Points)
  • Bromageddon - Complete the Campaign co-operatively on Heroic or harder - (40 Points)
  • Contact the Domain - Find a Terminal in the Campaign - (10 Points)
  • Terminus - Find all of the Terminals in the Campaign - (50 Points)
  • Digging up the Past - In Mission 1, find and access Chief's record - (20 Points)
  • Midnight Launch - In Mission 2, get significant air in the Warthog at midnight - (20 Points)
  • This is my Rifle, this is my Gun - In Mission 3, carry a UNSC weapon all the way through on Heroic or harder - (20 Points)
  • Bros to the Close - Make it through Mission 4 without one preventable Marine death on Heroic or harder - (20 Points)
  • Mortardom - In Mission 5, hijack a Wraith and use it to kill at least four enemy Wraiths on Heroic or harder - (20 Points)
  • Explore the Floor - In Mission 6, trick or force a Hunter to fall to his demise - (20 Points)
  • Give Him the Stick - In Mission 7 in solo Campaign, take out both Hunters using only the Sticky Detonator - (20 Points)
  • Chief, Smash! - In Mission 8, kill 3 Crawlers in one hit with the Gravity Hammer - (20 Points)
  • Not Some Recruit Anymore - Rank up your Spartan-IV to SR-5 - (15 Points)
  • Movin' on Up - Rank up your Spartan-IV to SR-20 - (30 Points)
  • I ♥ Red vs Blue - Win 5 War Games matchmaking matches - (10 Points)
  • The Dongblainer - Win 20 War Games matchmaking matches - (30 Points)
  • Operation Completion - Complete a Spartan Ops Mission on any difficulty - (15 Points)
  • A Legendary Episode - Complete all chapters in Spartan Ops Episode 1 on Legendary difficulty - (40 Points)
  • Dedicated to Crimson - Complete all chapters in the first 5 episodes of Spartan Ops on any difficulty - (80 Points)
  • Crimson Alone - Complete a Spartan Ops chapter solo on Legendary - (20 Points)
  • Roses vs Violets - Find one of the RvB Easter Eggs in Spartan Ops - (20 Points)
  • Rescue Ranger - Save at least one Marine in Chapter 3 of Episode 2 of Spartan Ops on Heroic or harder - (20 Points)
  • Knight in White Assassination - Assassinate a Knight in any Spartan Ops mission - (20 Points)
  • What Power Outage? - Complete Chapter 4, Episode 5 of Spartan Ops without losing a generator on Heroic or harder - (20 Points)
  • No Easy Way Out - In Ch 1, Ep 5 of Spartan Ops survive all enemy waves during the defense on Normal or harder - (20 Points)
  • The Challenged - Complete a Challenge - (10 Points)
  • The Challenger - Complete 25 Challenges - (20 Points)
  • Armorer - Change your Spartan's armor in the Spartan Armor card - (5 Points)
  • Badge - Change your Emblem in the Spartan ID card - (5 Points)
  • PWND - Change your Service Tag in the Spartan ID card - (5 Points)
  • What a Poser! - Change your Spartan's pose in the Spartan ID card - (5 Points)
  • The Cartographer - Create and save a Custom Map in Forge - (5 Points)
  • Game Changer - Create and save a Custom Game type in War Games - (5 Points)
  • Snapshot! - Save a Screenshot from the Theater - (5 Points)
  • The Director - Save a Film Clip from the Theater - (5 Points)
  • Sharing is Caring - Upload a File to your File Share - (5 Points)

Halo 4 will release on Xbox 360 on November 6.

Luke Karmali is IGN's UK Editorial Assistant. You too can revel in mediocrity by following him on IGN and on Twitter.


Source : ign[dot]com

Wednesday, July 25, 2012

The Hardcore Potential of Social Games

Right now most hardcore gamers decry social games as too casual. Where’s the skill? The twitch reflexes or deep strategy? The genre is written off as nothing more than a collection of software finely tuned to squeeze the maximum amount of money possible out of middle-aged moms. The term “Zynga trash” comes up often in enthusiast forums and comment sections.

While I personally don’t agree (I think a social game is a perfectly acceptable way to kill five minutes), it’s an opinion I understand. Some of my favorite video games feature extremely deep, chess-like strategy (Advance Wars), or extremely intense focus and motor skills (Super Monkey Ball 2). Neither of these elements are present in social games.

My question is simple: What if they were?

Below are three major ways AAA console games could be improved by incorporating ideas pioneered in the social games space.

Single Player with Benefits

Social games’ poor reputation among the hardcore set is fairly well-earned. Incessant cloning, overly-aggressive freemium pricing, and banal themes all-but ensured that the social category would remain the domain of soccer moms.

Leave ammo drops for your friends in especially tricky moments of Uncharted.

Perhaps the most damning complaint of all is that social games aren’t even really very social. Sure gamers can send each other gifts or visit each other’s farms, but the core gameplay experience is generally a solitary experience.

But maybe there’s something to that. Maybe there’s a way for your friends or for the millions of strangers playing a single-player game to actually have an influence on your adventure through the game. The game can remain a single-player experience, but it can unfold in a social context. Connected gaming can enhance single-player experiences.

Gamers could leave an ammo drop or weapon care package for their friends in a section of Uncharted 4 they had a hard time with. Items and messages could be left for friends in their GTA VI safe houses. The popularity of weapons or items purchased via in-game shops could impact their prices, helping to maintain game balance.

Some early examples:

Dark Souls: Players can leave notes to help (or hinder) the progress of other adventurers.

Animal Crossing: Multiple friends of family members inhabit the same town, and can work together as neighbors.

Massively Single Player

One of the coolest events Blizzard ever pulled off in World of Warcraft was the Ahn'Qiraj World Event in 2006. In the game, the Gates of Ahn’Qiraj were sealed by powerful magic, locking up a brand new raid dungeon. The doors would only open if thousands of horde and alliance players set aside their differences and worked together towards a common goal.

Players had to acquire what was at the time an almost unbelievably high number of war supplies. 400,000 Runecloth Bandages. 180,000 pieces of light leather. 90,000 Copper Bars. The list goes on.

Although WoW has always been a game focused around online multiplayer (it is an MMORPG after all), this was an especially cool event because it relied on the contributions of every individual. No mega-guild, no matter how powerful, could raise the required materials themselves. Even if your low-level character could only make a few bandages per day, every contribution mattered.

Worldwide progress could help take down Skyrim mega-dragons.

Now imagine if single-player games implemented worldwide goals and events that could affect the game world for everyone.

Elder Scrolls VI could introduce a massive, nigh-invincible dragon enemy. Only by players collectively crafting millions of high-level weapons would shops sell the equipment necessary to defeat it. Special post-game mission content could be unlocked in Call of Duty: Black Ops III only when players collectively killed 1 billion terrorists. A special 24-hour police crackdown event could happen in GTA VI every time 1 million police officers are ran over.

The games could remain single-player experiences, but the game worlds made more dynamic and alive thanks to millions of players working together towards common goals.

A few early examples:

Noby Noby Boy: Players stretch Noby Noby Boy. Once players collectively stretched enough miles to reach the moon, it was unlocked as a playable level. Mars, Saturn and Jupiter have also been reached.

Battlefield 1943: The Coral Sea multiplayer map was unlocked after the community collectively reached 43,000,000 kills.

On-the-Fly Data-Driven Design

Cliff Bleszinki made headlines recently for saying that he was tired of easy games and that Gears of War: Judgement would amp the difficulty back up.  But in a Game Developers Conference talk several years ago, the Epic Games creative exec told the crowd of game-makers that you can’t make your easy mode easy enough. What if your easiest difficulty is still too challenging for someone? You then have a gamer, casual and ill-equipped as they may be, that is no longer having fun.

The reverse problem also crops up. Many longtime Bungie fans complained that Halo: Reach was simply too easy, even on Legendary, its most extreme difficulty level.

What is a game maker to do?

One potential solution is to take a page from the book of social game makers like Zynga and treat games, even single player ones, like a live service. By constantly monitoring gameplay data and by frequently deploying changes, game makers could let the gameplay data itself determine difficulty on the fly.

343 could use live player data to determine Halo's Legendary difficulty.

If Halo: Reach is too easy for you on Legendary, you could just tell the game you want the enemy health, speed, damage and other stats set to a level that only, say, 0.1% of other gamers survived. Likewise, live stats on low-skilled players could ensure the game was never made too hard for anyone that just wants a breezy experience. “Very Easy” difficulty could be set so that the bottom 5% of performers can get through it.

In the social game space this kind of data-driven design is usually used to find high-value players; to maximize revenue. But it could easily be used for gameplay good. Developers do their best to playtest their games, but things fall through the cracks. Weapon drops in the next Call of Duty could be upped on-the-fly if Treyarch noticed that players consistently ran out of ammo in the same spot. Nintendo could place a few extra Koopas in a late level if they noticed that it was a little too easy compared to previous stages.

One upcoming example:

Warface: This upcoming free-to-play MMO isn't just competitive. A rotating selection of cooperative missions are also planned, similar to "daily quests" in MMOs.

Progress Through Connected Play

Social games will probably never be popular among hardcore games, but they still have some good ideas that would genuinely improve some of today’s biggest AAA games.

The three ideas outlined above are just that – ideas. Maybe they’ve been tried before. Maybe there are good reasons they only work in casual farming sims and not AAA shooters.

We live in a connected world. It’s up to AAA game makers to figure out how to utilize the world’s social connections in smart and clever ways without compromising their vision. Even if you don’t play any of its games, Zynga has shown the world that you can take advantage of today’s always-on connections  for much more than just another multiplayer mode.

Justin is Editor of IGN Wireless. He has been reviewing cell phone games since the dark days of Java flip phones. You can follow him on Twitter and IGN.


Source : ign[dot]com

Tuesday, July 24, 2012

Thomas Was Alone Review




Thomas Was Alone does an incredible thing: it makes you care about characters that are nothing more than coloured rectangles. It’s a great example of the way decent writing can elevate the simplest of games to something really memorable. As a puzzle-platformer, Thomas Was Alone is unique and entertaining, but it’s the confluence of art, sound, narrative texture and gameplay that makes it something more.


Narrated by Danny Wallace and made by Mike Bithell, Thomas Was Alone tells the story of the emergence of the first self-aware artificial intelligence. Each of its ten chapters begins with a fictional quote or two from newspapers, spokespeople and commentators at the time of the Event, but the narrative texture comes from the internal monologues of the cast of jumping rectangles as they navigate their way through minimalist, geometric levels.





You begin the game with a single red jumping quadrangle – Thomas – and pick up friends along the way, all of whom are different personalities with different abilities. One shape can float on water, one acts as a bouncy trampoline; smaller, nimbler rectangles can be stacked to create staircases for larger, more ungainly ones, many of whom have complexes about their size. Some are devious, some cantankerous, some mildly evil, but most are pleasant characters reacting with mild bemusement to their newfound consciousness. The aim, in every level, is to get every shape to a portal; once they’re all in place, they’re zapped to the next level.


Thomas Was Alone is only ever gently challenging, but it does quickly start bending your brain in ways it’s not supposed to bend, playing with gravity, perception and Portal-like ability-changing paints before it’s finished. Over the course of the game’s three or four hours, Bithell squeezes about as much novelty and variety out of its elegantly simple systems as humanly possible. Some levels are more tedious than others – the ones that involve a lot of precise staircasing and dangerous jumps will make you hammer your keyboard in rage more often than the more puzzle-orientated scenarios – but the pacing is clever enough to pull you through the game in just one or two sittings. Though it never exactly builds to a sense of urgency, your curiosity about the Event (and about what happens to Thomas and his friends) intensifies towards the end.





As any of the trailers will show you, Thomas Was Alone complements its simple gameplay with some beautifully minimalist music by David Housden – an ethereal piano score dotted with chiptune flourishes that evokes a kind of spaced-out loneliness, and works very well as a complement to your mental self-wrangling as you try to work out a level. Its use of colour and shadow, too, elevates it aesthetically from what you might expect of a one-man game at this price point. It’s a sophisticated disguise, in a way; Thomas Was Alone turns the enforced simplicity of a game made by one person into a design choice.


Thomas Was Alone never over-exploits any of its ideas, giving each the space it needs to breathe; if there’s a particular type of level that infuriates you, you can be happy in the knowledge that you won’t have to play through 20 near-identical ones.  This does lead to a relatively short run-time, but the £5.99 ($9) purchase price is still more than justified by the overall quality of the experience.



Source : ign[dot]com