TITLE-TEXT

Cocoon -- a utopia in the sky. Its inhabitants believed their world a paradise. Under the Sanctum's rule, Cocoon had long known peace and prosperity. Mankind was blessed by its protectors, the benevolent fal'Cie, and believed that tranquil days would continue forever. Their tranquillity was shattered with the discovery of one hostile fal'Cie. , ...
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NBA Jam: On Fire Edition Info-Dump!

Posted by Tanjeem Borshon


NBA Jam: On Fire Edition Info-Dump!


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The IGN Australia team makes no secret of its love for last year's NBA Jam. In fact, we declared it our #2 game of 2010. We're understandably excited, then, about NBA Jam: On Fire Edition, which is heading to PSN and XBLA in October. It's going to be incredible value for money, and - if our sessions with it are anything to go on - a blast to play.

A lot has changed since last year too. The team has stripped out all the boss battles and half-court games, and is focusing entirely on the two on two experience. They've also introduced the ability to swap – or tag – between players. In classic Jam, the player controls only one character on a team, with the other assigned to AI. Now the player can swap, and it alters the gameplay significantly.

Behind the scenes there are a bunch of changes too, from a brand new AI system that is designed to make computer-controlled opponents challenging and believable, as opposed to - hello Jam 2010! - cheap, to a rethink of player stats and abilities, and a heap more players and hidden characters.

We caught up with Trey Smith, NBA Jam's creative director - and certified Jam freak - to find out a little more.

Gameplay Changes
Trey Smith: I don't want to be that 'we've got over one thousand gameplay improvements and enhancements' guy, but it's true. It's a lot about seeing how people play. You're kind of in a box when you're working on a game, and it's really hard to get quality feedback. We do focus groups, we bring people in, but it's not until it goes out there into the wild that I think you really get to know the ins and outs of your game. [With last year's title,] I played a lot of games online, just to see how people play, and it was really surprising.

Last time, I can tell you, the power stat was way heavy. It influenced far too many things, in our opinion – a lot of the conflicts and blocks and collisions. Power was a very loaded stat last time through. That wasn't the original plan, but that was how it ended up. Stats mean more this go around. Every stat has to count and it's balancing them out a little bit more. So that's one of the under-the-hood things that you might not recognize right away, but [that you'll notice] the more and more you play. We've got a lot of fighting game guys on our team, and the match-ups and the strengths and weaknesses and the balancing – these are all things we've put a lot of time and effort into this time through. Blocks are harder now, on purpose. There is a better outside game. It was really hard to drain a routine two pointer in our game last time, and that was about how we docked the shot percentage for two pointers – it was too heavy. There's seven or eight different things that go into a shot percentage, and it was weighted too low, so people weren't doing them.

I mean, sure, if you want to dunk conservatively.

Another thing is the spin move, to counter the shove. On the dev team and on paper, whenever we play, I use the spin move quite often. When I played online, no one used it. And it was a shame, because I thought that was a really nice counter to the shove, so what we did was we opened it up another six or eight frames, where you're invulnerable to the shove, and all of a sudden the shove [is less effective]. It's little things like that. When it comes to those core interactions, we touched every single one of them. We did tweak the shove [too]. I don't want to tell you what we did to the shove, but it's a little bit different and it should feel a little bit different.


Player Swapping With Tag Mode
Trey Smith: Tag mode. That was one of those decisions that I made early on last year, and it's an expensive feature. It doesn't seem like it would be, but it is, because you're shifting AI on the fly and all that kind of stuff. At the time I made the decision not to do it in last year's version, because that's what they did in the original. As soon as we threw tag mode into this one… when you're playing player versus player with an AI team mate, I think the game's at least twice as much fun now.

I'll give you a classic example. In last year's game, I'm running with the Lakers, I've got Kobe, I've got Pau Gasol. I shoot a three with Kobe and then I hope that AI Gasol goes in and snags that rebound for me. I'm like 'c'mon Pau' and sometimes he does and sometimes he doesn't. In this game, I've got Kobe, I shoot the three, switch to Pau. I can go in and either put it in or do an alley-oop. Another one is – you go for the shove at mid-court. If I missed that shove before, it's like 'okay, I'm out of the play'. Now, if I miss that shove, I switch to the other guy and I'm still there for the block. So if you think about it, as fast as Jam was last time, you're doing twice as many things now.

Yes, invisible kart mode is back!


Sweet New Moves
Trey Smith: We've got some triple threat moves now. If you go for a pump fake and you pick up your dribble, you can now do a eurostep jab, which is just like the cross-over and it sends out a radial attack, so if you draw them up into the air and they go up, on their way down, if you do a little step and send out that radial attack, it'll kick 'em into a stumble. You can also do a pump fake, and if – instead of going up for the block, the blockers come in for the shove – now you can do kind of an ole move, and then they can go right through you. The more interesting choices we give gamers, the more strategies you can develop, and the more you get to learn different playing styles.


Play Styles
Trey Smith: In this one, it is best to go in with a three point shooter that's fast and that has steals, and a big power blocker/dunker. That's your quintessential Jam one-two punch. But, you can go in with Shaq and Dwight Howard on the Magic as the twin towers, which a lot of people were doing online with Tim Duncan and David Robinson last time, and that's a different game. Obviously you've got some really big strengths on the rebounds and the blocks, and the dunks and the power, but really weak on the outside, and you can counter that. We had the substitution at half time with the last version and I think some people used it, but 90% of the time people just ran with what they had. This time, I think – especially once you unlock legends – we're going to see people saying 'well that strategy's not working, I think I need to swap somebody out'.


More Players and Teams Than Ever
Trey Smith: We've got more secret teams, players and characters than have ever been in a Jam before… I'd say we have at least 50% more this time around, and it's across the board – it's more NBA legends, it's more current NBA stars, it's more mascots – I think we only rolled with six mascots [last time], now we have 27, it's like a furry-palooza… NBA Jam's a game for gamers first, sports fans second, and with the secret teams in particular we've put a lot of time and effort into creating teams that anybody would want to play.

Furry-palooza indeed. *shudder*


Unlocking Stuff
Trey Smith: We have an unlockable mechanic where you earn 'Jam bucks' that are like experience, and then you buy what you want in the store, so it's not like you have to play through a campaign mode with this one team and beat it seven times in order to unlock something. It's in the store and you spend your Jam bucks on what you want to buy. We're not here to punish people.


Brand New AI
Trey Smith: We swapped out the AI. We tossed it out the door. It was punishing to new users. We have a brand new AI system. This is R.E.A.L. AI. It started out on NHL, it went to Fight Night, and then our guy took it and dropped it into Jam… It's an exciting new piece of technology… we don't really know what it's going to do. It's recording your gestures, so the things you do in the game, whether it's a sequence of two seconds or seven seconds or whatever, it's recording and bringing it in and then it's playing it back, and depending on how successful that sequence is when it plays back, it either moves up in the 'how often it gets called' rate, or it drops down and falls off. So it's constantly updating with new moves and new tricks. You'll be playing against the AI and you'll see it do your move. It's funny because if you taunt the AI, it may then taunt you back.

It doesn't feel like you're playing against the computer, and very rarely will you really be able to tell what the AI is going to do, and sometimes it's creepy-good. Not in a cheaty way… anyone can write an AI that can pound you, that can beat you - because it can cheat under the hood - but can you really build an AI that can keep you engaged and challenge you and learn from you and adapt and be dynamic? This is another great thing about Xbox Live Arcade and PlayStation Network - we can take risks like that, we can try some stuff out. We're very confident in the value we're offering gamers this go around. We dropped Remix and the boss battles and all that kind of stuff, and just focused on two on two. A razor-sharp focus on what happens on that court, and adding more layers to it. It also allowed us to try some new stuff.

It's our hope that it helps you play better, that it teaches you and shows you holes in your game. It's a fraction – it's not every single move is real AI. We have an embedded move system.


Player Archetypes
Trey Smith: Along the lines of AI and along the lines of player differentiation and making stats matter, we put every player in an archetype. So we've got a point guard, a shooting guard, a forward, an all-rounder and a big man, and every single player in the database is one of those five archetypes, so that's also deterministic on what players do and when they do it. And when you play with that kind of player it's almost assumed that you know what that archetype is, and if you play that archetype like you're supposed to, you're going to find success, and if you don't, then you're not.

Insert 'flatulence-assisted shots' caption here.

Take the Golden State Warriors. Their two starting guys are big three point shooters, so when you're playing them, they shoot from outside, and you have to figure out how to beat them. We tried the boss battles, we tried the strength and weaknesses things, some of them worked, some of them didn't, but I think that feeling of being able to recognize and try to counter those strategies based on stats, and you throw the archetypes in on top of it – it's an arcade sports title so it's pick up and play, but for the fans out there that love it, we wanted to give that depth. And it is a deceptive depth.


Gameplay Balance
Trey Smith: We did juice the outside game, so three pointers are easier to land this time, and that was on purpose, because I really did feel like it ended up like run-dunk-run-dunk-run-dunk, so we're trying to open up the court and give players some different strategies they can do, and the alley-oop is one of them, and I think team fire is also something else that a lot of people wanted to do, and that's three consecutive alley-oops. I can say that a high pass rating, for the guy that's throwing the alley-oop passes, is a big deal.

With the new players that we added to the roster, a lot of the time those choices were made to even things out. Last time, the Trailblazers were a really weak team – sorry Blazers – but in Jam world there really wasn't a strong outside shooter or a strong blocker/dunker guy, so we went out of our way to find a legend that could fill that void, and tweaked the stats a little bit more to even things out. I think everybody should have a chance. It's like a fighting game - you should be able to pick any player and fight against any other player. Yeah, you might have a disadvantage, but it's still going to be fun and you still have a chance to win.


Jam-net and Online
Trey Smith: Jam-net is right there on the main menu. We have an online co-op campaign called Road Trip – more on that later, and it has a heavy Jam-net component to it. We've got a dynamic online tournament mode called Arena, which you can play solo or co-operatively, and it changes often, that's about all I can say on that one. There are lots of different ways to play, but it all comes down to the two on two experience on the court.

We want it so every time you hop on you've got someone to play. Last time with the Remix games, what we found out is that we essentially splintered our audience in eight different directions. This time they're all going into one pool.


Value For Money
Trey Smith: We want to go out there with the strongest feature set on Xbox Live Arcade and PlayStation Network. We want people to go – holy cow, all of this for fifteen bucks or ten pounds or whatever? It's our hope that down the road somebody goes – you know what? That ten pounds I spent on Jam? That was probably the best bang for fun buck that I spent. If even one person says that we're doing cartwheels. That's been our goal all along. It's a passion project – we love this game and we love making this game.




One last thing I wanted to mention. I asked Trey whether players who had a save file from last year's Jam on their system would get anything cool. While he couldn't reveal anything, his answer does sound promising:

"I can't give you an answer to that, but we're very cognizant that we have a fan base that's out there, that's established, that came along with us for the first ride. We learned a lot, that first time through, and we're very happy that people showed up. If it wasn't for the fans that showed up the first time, there's no way that we would have gotten a second kick at the can with this one, so it's obviously in our best interests to try to give thanks back, and that's about all I can say."

Blizzard Introducing New Easier Raid Mode

Posted by Tanjeem Borshon


Blizzard Introducing New Easier Raid Mode




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Like Wrath of the Lich King and The Burning Crusade before it, World of Warcraft: Cataclysm's great big bad guy played a major role in the promotion of the expansion, and as such has had his fate sealed since the expansion's conception. But the exact manner in which Deathwing, the massive, partially-mechanical Dragon Aspect of Death would meet his demise has remained unknown. Not for long, though, as Patch 4.3 -- known as Dragon Soul -- is bringing the Deathwing encounter to the public.


Blizzard has remained tight-lipped about the fight with Deathwing, only going so far as to say the fight will span multiple encounters, each with its own loot, and is going to be World of Warcraft's most ambitious and unique encounter yet. Blizzard plans to test most of the raid instance extensively on the public test realm (PTR). Blizzard has explained that along with the raid are three new 5-man dungeons, which tell a story that leads directly into the Deathwing encounter. From what I've seen so far, many major lore characters of the past and present are involved, including Thrall, Illidan and several dragon aspects.
Illidan's back!
Illidan's back!


Along with the new raid comes the Raid Finder, a tool that functions similarly to the Dungeon Finder. It searches across other realms for potential party-mates and puts you in an instance. There are key differences and limitations for the Raid Finder, however. For starters, the Raid Finder only creates 25-player raid groups -- no 10-player raids. It also sends players to a unique version of the raid that is at a separate, easier difficulty level that the normal or heroic modes.


This easier difficulty level comes with its own lower-tier of loot, and Blizzard is currently considering not locking Raid Finder-mode raids to a timer or ID. Assumedly this is to avoid the nightmare of being put into a raid that is almost complete or being locked out from any future matchmaking after only downing the first encounter. But this also means that players can theoretically run this version of the raid as many times as they want. No achievements will be tied to the Raid Finder version of any raids, meaning achievement hunters will have to go about finding groups the old-fashioned way. Raid Finder is initially going to work only for the Deathwing raid, though Blizzard is considering retrofitting it to work with the Firelands raid and potentially others.


Transmogrification, a method of changing the appearance of your armor, is also coming in 4.3. Other MMOs that allow players to reskin their armor has seen this change the player-versus-player metagame somewhat, but Blizzard is not so concerned. The developer feels that competitive PvP players are less targeted based on the strength of their armor and more on their class or role, though it could allow for a different dynamic on open-world PvP on PvP servers.


Coming along with Transmogrification is a means of storing all those aesthetically-pleasing but functionally-useless items -- the Void Bank. Although it comes with dozens more slots to store your gear, it removes enchantments, slotted gems, crafter names and any other enhancements on the item. It's intended specifically for your cosmetic items and obtaining access initially will cost gold.


Blizzard plans to put patch 4.3 on the PTR "when it's ready." As is Blizzard's style, there's no set date (or even vague window) for when that'll be. 

The Future of Games Development Down Under

Posted by Tanjeem Borshon


The Future of Games Development Down Under




For countries half a world away from each other, Canada and Australia are surprisingly similar. They're both independent former colonies of Britain. They're both large, sparsely inhabited slabs with a big chunk in the middle that nobody wants to live in. They're both subject to extreme temperatures; one's too cold and the other's too hot.


There's one area, however, where the two are exceedingly different. Last year, while Canada was busy overtaking England to become the third-largest video game powerhouse in the world (behind Japan and the US), Australia's largest developer, Krome, went bust. Canada had been hiring and Australia had been firing.


But then, good news. The R&D Tax Credit – a 45 per cent refundable tax offset for eligible companies with a turnover of less than $20 million per annum – promised to boost Australian games development. Two months ago the CEO of the Game Developers Association of Australia (GDAA), Tony Reed, even went on record to claim that, on the back of this announcement, they were preparing Australia to become one of the top three territories in the world for game development within the next five years.


Of course, that would mean usurping Canada, current number three in terms of employment numbers and the home to some of the biggest brands in gaming today, including Mass Effect, FIFA, Assassin's Creed and many, many more. A bold claim, even before THQ Studio Australia in Brisbane, Team Bondi in Sydney and Blue Tongue in Melbourne all went belly-up within weeks of each other.

Assassin's Creed: It's kind of a big deal.


We ask Reed what has changed in the wake of three high profile studio closures and a lot of unemployed developers.


"Well, nothing has changed, in truth," says Reed. "We actually don't view this as anything but opportunity for the industry going forward. I think to suggest that this is doom and gloom is to do a disservice to the guys, especially at Blue Tongue, who are just so extraordinarily talented."


"They're moving back into the industry, they're not going anywhere. A lot of them have moved back either into the industrial structure of a big studio or they're starting their own thing. The reality is we're moving quite heavily and quickly into creating our own intellectual property and we've really had a number of studios realise that kind of success. What's going to happen going forward is, as more platform opportunities come up, we'll see switching away from iOS, which is obviously the popular one for start-ups now, and into all the digital platforms. That includes the consoles going forward, and the next generation of consoles. So while we put these foundations together our guys are really just looking at the creation of that intellectual property that I think will pretty much cement their place in the world market when the time comes."


It's true that small, independent Australian studios like Halfbrick and Firemint have hit serious home runs with their own IP, including games like Fruit Ninja and Flight Control, but that's of little comfort to those recently laid off from the country's few remaining large studios.



Fruit Ninja has been a massive success.


About five years ago, Fortitude Valley, Queensland was the beating heart of the Australian game development scene. Five years ago there were five big studios, all within spitting distance of each other. Now only one remains.


THQ Studio Australia was one of the unlucky ones. Founded in 2003 the studio mainly developed titles based on popular Nickelodeon TV licenses. The studio released eight games before it was shuttered, each one a licensed children's title – games like SpongeBob SquarePants: Lights, Camera, Pants! and Adventures of Jimmy Neutron Boy Genius: Attack of the Twonkies.


That wasn't all that was being worked on behind the scenes, however. Prior to its cancellation the studio had been working on the PS3 port of Frontlines: Fuel of War; THQ decided to pull the plug on that in January, 2008. And recently, after the studio was torpedoed, some of the staff laid off went public with art and footage of what's purported to have been an Avengers game.


Former THQ Studio Australia programmer Mithra Pattison says the closure was an unpleasant surprise, but not an unexpected one.


"It was a shock in terms of exactly when it happened rather than that it happened at all, because we were kind of expecting there to be big questions and problems once this particular project that we were working on had finished," says Pattison. "We thought since we only had about six months left on the project that we'd sort of get through to the end and then the problems would occur rather than being shut down that close [to release]."


Pattison had been working on this project, "for about a year, but there were some other people in the studio that had been working on it for probably about a year-and-a-half," he says. Pattison has had an exceptionally bad run of luck in that department; out of the eight games he's worked on inside Australia only two of them have ever seen the light of day.


There were "close to 100 people" at THQ Studio Australia but the closure was "actually handled fairly well," according to Pattison.


"You hear stories of other companies where they just kind of close the doors and you don't get anything, you don't get your holiday pay or anything like that," he says. "This time they were pretty good about it, they gave us all our proper notice and proper redundancies and things like that and also support in terms of finding jobs both here and overseas and so on. The decision itself is never nice but once they made the decision they were pretty good about it."


The decision itself was explained by THQ's EVP and CFO Paul Pucino at the recent Citi 2011 Tech Conference in New York City. THQ Studio Australia and Blue Tongue were ultimately undone by two things, money and a shift in THQ's priorities.


"We think the best position we could be in with respect to studio structure right now, fewer is better," he told the conference. "A year ago we had about 11 [studios], now we're down to five. We think that's the right number."


"The two that we just shut in Australia, they were working on games that were not consistent with our strategy any longer. One was working on a movie-based console game – again, not part of our strategy. The other was working on a kids' licensed game – not part of our strategy either. That's what drove that decision."


Pucino added that, when THQ bought those studios 10 years ago, the Australian dollar was "about half the US dollar." With the dollar near parity, operating those studios was no longer as attractive or cost effective. At the time of writing the Australian dollar is buying 1.03 US dollars.


Unsurprisingly, THQ's new Montreal studio, opened in August last year, will eventually be THQ's biggest studio. It currently houses around 150 employees and will grow to 400 employees "over the next couple years," according to Pucino.



The cost of developing games in New York also saw THQ shut Kaos and move further Homefront work to Canada.


Tipping out this many people into an already contracting job market "significantly" complicates things. The revelation today that theMelbourne branch of Visceral Studios has been closed won't help matters much either. The situation is tipped to get worse too; a source has indicated to us that, due to no new work in the pipe, once Happy Feet Two is completed KMM Brisbane is to be axed. A separate source, formerly of Team Bondi and now working at KMM in Sydney (along with an unknown number of Team Bondi alumni), told us he doesn't really know what he'll be doing in two months time either, and that he's thinking about leaving the video game industry entirely.


"It kind of leaves you, realistically, with two options," says Pattison, who moved to Brisbane in 2006 after Sydney-based Perception disintegrated during the development of a Stargate game. "Try and head overseas if you want to stay in games, most likely to Canada because that's one of the few places that's hiring, or if you want to stay in Brisbane then pretty much just trying to find work outside of games or, at the very least, moving into sort of small team mobile type development because large-scale console development is near-enough-as-dead in Brisbane now. Near-enough-dead in all of Australia now actually, to be honest."


"If I was determined to stay in games I would head in the mobile direction, because that's the only area I see with growth potential.


"My gut feeling is that probably around half the people from the studio are now trying to branch out into related fields. There's probably about half, or somewhere close to half, that are looking to head overseas, a small number looking to move into mobile games and again sort of maybe 40, 50 per cent or something shifting into related fields, like simulation work or, for the art side, online, movies and TV and that sort of stuff... not games." 

Posted by Tanjeem Borshon


Vita Updates Less Intrusive Than PS3


President of Sony Worldwide Studios Shuhei Yoshida has said that the Vita update process won't be as laborious as it is on PlayStation 3 and PSP. 

Speaking to Game Informer, Yoshida said that the company realised that the time taken to update PS3 firmware was excessive. "It's very annoying when you only have one in your busy life to play a game, and when you to spend 30 minutes out of that one hour to update the hardware. 


"So it's not necessarily the frequency of how we update, it's the intrusiveness of the current process we have on PS3 and PSP." While not going into specific plans for the Vita's update system, he stated that Sony is "very aware of the issues, and we'd like to address those issues on PS Vita." 

FINAL FANTASY XIII-2

Posted by Tanjeem Borshon


Final Fantasy xiii-2


ABOUT THIS GAME



Final Fantasy 13-2 Box Art
Cocoon -- a utopia in the sky. Its inhabitants believed their world a paradise. Under the Sanctum's rule, Cocoon had long known peace and prosperity. Mankind was blessed by its protectors, the benevolent fal'Cie, and believed that tranquil days would continue forever. Their tranquillity was shattered with the discovery of one hostile fal'Cie.
The moment that fal'Cie from Pulse - the feared and detested lowerworld - awoke from its slumber, peace on Cocoon came to an end. Fal'Cie curse humans, turning them into magic-wielding servants. They become l'Cie - chosen of the fal'Cie. Those branded with the mark of a l'Cie carry the burden of either fulfilling their Focus or facing a fate harsher than death itself. A prayer for redemption.
A wish to protect the world. A promise to challenge destiny. After thirteen days of fates intertwined, the battle begins...
Set several years after Lightning and the others saved Cocoon, some survivors have decided to start over by rebuilding on Gran Pulse. Lightning, however, is nowhere to be found and thought dead by many, but Serah believes otherwise. When her town is suddenly overrun by monsters, a mysterious man named Noel appears to save her. Together, the two set off to find Lightning...
Genre: RPG
Publisher: Square Enix
Developer: Square Enix
MSRP: $59.99
Also on: X360
RP-T+ for Rating Pending, Targeting a Rating of Teen or Above: Mild Language, Suggestive Themes, Violence