Slashdot Mirror

An anonymous reader writes: Yesterday marked the release of Star Wars Battlefront, EA DICE's attempt to resurrect a Star Wars video game series that had great success a decade ago, but gradually petered out over the course of several years. Early reviews for the game are mixed. Games Radar's video review gives it a lot of credit for being incredibly faithful to the feeling of Star Wars. Polygon's review praises the game's accessibility and its broad variety of PvP options, but acknowledges that it had to trade complexity to get there. Giant Bomb's review is much more blunt: "Slick production values, solid controls, and tons of fan service can't make up for mediocre progression and a lack of content." Many reviews rate the graphics highly, and performance is solid even on consoles. It's worth noting that user ratings on Metacritic come in significantly lower than critics' ratings, with the most common complaint being about the dearth of content.

RogueyWon writes: Fallout 4, the latest instalment in the long-running video-game series and one of the most hyped titles of the year, was released on 10 November. The game has generally been reviewing well, currently holding a Metacritic score of 89. However, a number of reviewers have noted the very large number of bugs present in all versions of the game and have, in some cases, reflected on the difficulty that these pose for reviewers, despite still awarding positive overall write-ups. Can it be ethical to recommend a product to consumers on the basis of its strengths, despite knowing that it contains serious faults?

An anonymous reader writes: Another month, another superhero movie based on the Marvel universe. Today marked the release of Fantastic Four, an attempt to reboot a film franchise that did poorly in the theaters as recently as 2007. This isn't the same crew that's been pushing out blockbuster after blockbuster, though — it's the crew that keeps releasing mediocre X-Men flicks. From early reviews, it looks like we can expect to see another reboot in 2025. Rolling Stone calls it "the cinematic equivalent of malware," saying that even a solid cast of actors couldn't save it from failure. A.V. Club says it "struggles to fill out its relatively brief runtime," the NY Times says even its special effects aren't up to snuff. Metacritic shows rare agreement between fans (27/100) and critics (2.7/10), and it does just as poorly on Rotten Tomatoes. Even director Josh Trank seemed to have a problem with the film. Those who have seen it, what did you think?

An anonymous reader writes: Over the past decade, Marvel has been rolling out superhero film after superhero film. They've found a successful formula, and each of the last half-dozen films has brought in over a half-billion dollars in ticket revenue. Today they added to the franchise with Ant-Man, based on a superhero who can shrink himself to the size of an ant (while maintaining normal strength), and control insects. But where the spate of Avengers-related movies only occasionally interjected humor into their world-preserving plots, Ant-Man focuses more on being funny and simply entertaining. Reviews are generally positive, but not overwhelmingly so — Rotten Tomatoes has it at 79%, with a 91% audience score while Metacritic has it at 64/100, with an 8.4/10 user score. The LA Times calls it "playful." Vox has good and bad to say about Ant-Man, but notes that its failings are very common to Marvel's other films. Salon says, "...in its medium-stupid and mismanaged fashion it's not so awful." Wired posted the obligatory physics of Ant-Man article, as did FiveThirtyEight.

On Friday, Marvel released its latest superhero blockbuster, Thor: The Dark World. Chris Hemsworth, Natalie Portman, and Tom Hiddleston reprise their roles as Thor, Dr. Jane Foster, and Loki. Christopher Eccleston, best known for his role as the Ninth Doctor on BBC's Doctor Who, portrays Thor's nemesis in The Dark World: Malekith, ruler of the Dark Elves of Svartalfheim. Despite a strong opening weekend at the box office, critical reception has been lackluster. The movie averaged 66/100 on Rotten Tomatoes and 54/100 on Metacritic, but user reviews rated it higher, at 86/100 and 8/10 respectively. io9's review calls the plot "completely forgettable," but also said, "at a time when superhero films are gravitating towards Christopher Nolan-style darkness, it's really nice to see a movie go swinging into adventure with a song in its heart." Comic Book Resources also commented that the movie was a lot of fun, but added, "the film doesn't quite reach its true potential due to a villain who never truly feels like much more than an amorphous bad guy." Those of you who went to see it over the weekend: what did you think?

Guitar Hero: World Tour's recent launch saw boxes of plastic instruments flying off store shelves, quickly selling out in many areas. Unfortunately, many players reported problems with the bundled drums sets, prompting Activision to release a drum "tuning" application and a free midi-USB cable to connect the instruments to a PC. Otherwise, reviews for the game have been largely positive, and MTV's Multiplayer Blog did an analysis of using Rock Band drums in GH:WT, and vice-versa. Kotaku looked at which set was louder, coming to the conclusion that while they sound different, decibel levels are very similar. The early success in sales for GH:WT caused Activision to say holiday demand may not be met, and that they're examining two methods in particular to develop the franchise: instrument upgrades (hopefully less ludicrous than Logitech's $250 axe) and the possibility of a subscription-based model for user-generated content. "[Activision Blizzard CEO Bobby] Kotick says that there are now 25,000 user generated tunes that have been created for the game, and projected 'up to 100,000 songs' by the end of this year."

Gravy Monkey writes "It's not too difficult to criticize the quality of many third-party Wii games — whether they're unique titles, bad licenses or lazy ports to the new system. However, will this change as more quality third-party games appear on the Wii? Recently, Wiiware title 'Lost Winds' picked up some great reviews, as did the Blastworks game. The recent review of a new game called Order Up on IGN caught my attention because they praised it as the way all casual games should be made. Is this the beginning of a new era for Wii games where quality casual games from third parties manage to grab the attention of both mainstream and hardcore gamers alike, instead of being a console where only first-party titles sell?"

Gravy Monkey writes "It's not too difficult to criticize the quality of many third-party Wii games — whether they're unique titles, bad licenses or lazy ports to the new system. However, will this change as more quality third-party games appear on the Wii? Recently, Wiiware title 'Lost Winds' picked up some great reviews, as did the Blastworks game. The recent review of a new game called Order Up on IGN caught my attention because they praised it as the way all casual games should be made. Is this the beginning of a new era for Wii games where quality casual games from third parties manage to grab the attention of both mainstream and hardcore gamers alike, instead of being a console where only first-party titles sell?"

Gravy Monkey writes "It's not too difficult to criticize the quality of many third-party Wii games — whether they're unique titles, bad licenses or lazy ports to the new system. However, will this change as more quality third-party games appear on the Wii? Recently, Wiiware title 'Lost Winds' picked up some great reviews, as did the Blastworks game. The recent review of a new game called Order Up on IGN caught my attention because they praised it as the way all casual games should be made. Is this the beginning of a new era for Wii games where quality casual games from third parties manage to grab the attention of both mainstream and hardcore gamers alike, instead of being a console where only first-party titles sell?"

Gravy Monkey writes "It's not too difficult to criticize the quality of many third-party Wii games — whether they're unique titles, bad licenses or lazy ports to the new system. However, will this change as more quality third-party games appear on the Wii? Recently, Wiiware title 'Lost Winds' picked up some great reviews, as did the Blastworks game. The recent review of a new game called Order Up on IGN caught my attention because they praised it as the way all casual games should be made. Is this the beginning of a new era for Wii games where quality casual games from third parties manage to grab the attention of both mainstream and hardcore gamers alike, instead of being a console where only first-party titles sell?"

Reservoir Hill writes "An article from last week runs down the new mass audience for gaming among families, women and older people. The importance of the mass audience in gaming's spectacular growth is seen most clearly in the success of Nintendo's Wii, which is far outselling its more technically advanced hardware competitors, the Xbox 360 from Microsoft and PlayStation 3 from Sony. Wii Play was the No. 2-selling game of last year even though it received an abysmal score of 58 out of 100 at Metacritic, which aggregates reviews. The Times says that as video games become more popular hard-core gamers are becoming an ever smaller part of the audience. 'Paradoxically, at a moment when technology allows designers to create ever more complex and realistic single-player fantasies, the growth in the now $18 billion gaming market is in simple, user-friendly experiences that families and friends can enjoy together.'"

Wired has up an interview with Blacksite: Area 51's lead designer Harvey Smith. Smith is well known for his work on great games like Deus Ex and System Shock, but his latest title is getting a lot of negative press. In the interview, Smith as much as admits the team failed in their quest to make a great game. "'We got hammered so hard [by reviewers], and we deserved it ... Everyone was forced to share tech. It took eight months to get one thing working.' He wouldn't specify what that one thing was, but did note that technical problems set the team back, time and time again. Another of Smith's complaints was 'the fact that we had four days to Orange Box something,' meaning to fix and polish a level. Smith called this 'completely reprehensible.'" Kind of shocking to see this kind of honesty from the games industry.

An anonymous reader writes "If you've been following Greg Costikyan's recent rants (such as Death to The Games Industry), you would have seen mention of one developer's attempt at breaking the traditional games publisher funding model. Well, their game is now in the stores, and whats more it has been getting some pretty good reviews, but has anyone heard of it? Judging by some press, the marketing has been somewhat underwhelming. So the question is, is there still a viable space for good games developed outside the traditional corporate publisher model, or does E.A. already own the future of video games?" Moreover, when indie developers have to go up against the likes of EA and Steven Spielberg, what hope can they have for matching that kind of success? At least one company thinks they can do it by offering games for direct download. Is direct purchasing enough of an incentive for your average gamer to shell out money on something he's never heard of before?

Thanks to Reuters for the news that Sega has sued Fox, EA, and developers Radical Entertainment over the similarity between EA's The Simpsons Road Rage and Sega's own Crazy Taxi. The story reveals: "Sega holds a U.S. patent, known as the '138 patent, on 'Crazy Taxi,' in which players take the role of a taxi driver who has to accomplish outrageous driving stunts to pick up passengers and quickly deliver them to their destinations." The patent infringement suit, which asks for the recall of the game and damages for lost profits, claims The Simpsons Road Rage was designed to "deliberately copy and imitate", citing a review "...that characterized 'Road Rage' as a 'shameless incident of design burglary'."

Thanks to IGN Cube for their article on the Universal Soul Calibur II Arcade Stick, which is being released by Nuby and Namco on August 31st, just after the launch of the ravenously-awaited Namco fighting game sequel for PS2/Xbox/GameCube. IGN explains: "The interesting detail about the arcade stick is that it works with all three consoles - no extra assembly required. All gamers need do is plug the appropriate end into the console of their choice and they'll be up and running." So you can use the same joystick to play Link, Heihachi, and Spawn, if you're insane enough to buy Soul Calibur II for all three platforms, as well as repurposing the stick for any other famous fighting games that take your fancy.

Thanks to the IGDA for their 'Ivory Tower' academic-related games column discussing how games communicate information to players. The author uses Ico as an example, highlighting the "...gameplay mechanic of enabling players to save their game. Often with consoles, players access this option with the pressing of the Start/Select button... In Ico, you can only save when you find a glowing white couch... clashing with the rest of the design of game world and drawing rhetorical attention to this mechanic that enables you to save your progress." But should developers "work to create gameplay mechanics that are better incorporated within the overall game design, making them less explicitly rhetorical", as The Getaway does by getting rid of HUD information, or does there need to be an explicit and obvious way to save, regain health, check an onscreen map, and so on?

Thanks to the IGDA for their 'Ivory Tower' academic-related games column discussing how games communicate information to players. The author uses Ico as an example, highlighting the "...gameplay mechanic of enabling players to save their game. Often with consoles, players access this option with the pressing of the Start/Select button... In Ico, you can only save when you find a glowing white couch... clashing with the rest of the design of game world and drawing rhetorical attention to this mechanic that enables you to save your progress." But should developers "work to create gameplay mechanics that are better incorporated within the overall game design, making them less explicitly rhetorical", as The Getaway does by getting rid of HUD information, or does there need to be an explicit and obvious way to save, regain health, check an onscreen map, and so on?

Dean Siren writes "Disney chairman Richard W. Cook says that they've budgeted to market Spirited Away in up to 1,000 North American theaters, and if the Oscars endorse it as much as Metacritic has, Disney will launch it. They'll spend the same time and money promoting Spirited Away for Academy Awards as they will Lilo & Stitch and Treasure Planet. Cook hopes that it will win not only Best Animated Film, but get nominated for Best Picture, as Beauty and the Beast got in 1991. Thanks to Jack Mathews at New York Daily News for getting Cook to explain."