The freshman effort from studio Fool’s Theory looks promising. A small group of seasoned game developers that comprise the studio has been together now for about a year – including former CD Projekt Red (The Witcher) team members – and PAX East 2016 offered our first look at their game, Seven: The Days Long Gone. The Polish group set out to do something they said “no one has done,” which was to create an isometric, parkour-style, jump-and-climb action RPG. We got the chance to play Seven: The Days Long Gone, an Unreal Engine game, and speak with project lead Jakub Rokosz at PAX East.
The game takes place in a “beyond post-apocalyptic” future where mankind is slowly rebuilding. The plateau of Peh begins our story, and players get to explore the Empire of Vetrall throughout the campaign. We were placed in the game as protagonist Teriel the thief, but were informed that Fool's Theory also intends to allow players to choose their own character when the game is complete. Teriel is possessed by a demon, Artanak, who has an agenda of his own. The demon and its host work together to learn about the Empire of Vetrall, aiming to discover much about the ancient world and its secrets. Gamers can expect about 10 hours of campaign play with many more added, assuming all the side quests and adventures are also completed.
Torn Banner's Mirage: Arcane Warfare made its inaugural press tour at GDC a few weeks ago, but we weren't allowed to play it until last weekend's PAX East. Previewing a mechanically deep game from a show floor environment is always difficult – you've got a few minutes to figure out the controls, and it's normally just enough to get a good “base feeling” for the heart of the game. That's it, though, and there's little to be learned in the form of combat or mechanics intricacies.
We previewed Mirage: Arcane Warfare gameplay at PAX East in a full multiplayer match, managing to play each class at least once between the two of us. One class remained locked, but the rest were open to play.
The games industry moves in trends – RTS, MMOs, shooters, space sims – but the industry's also big, and one segment that's developed a new trend is the indie games market. The current trajectory of indie games is a retro one – using graphics that resemble the classic 8- and 16-bit games of old, particularly games like Nidhogg, Kingdom, and Organ Trail.
Mages of Mystralia doesn't go down to 8-bit to accomplish its goals of revitalizing nostalgic titles. Mystralia looks to recapture the spirit of older games – specifically the Zelda games, taking artistic cues from Windwaker and differentiating for originality. We had the opportunity to preview Mages of Mystralia while at PAX East, reminded of a more “intellectual” Magicka fused with Windwaker elements.
We spoke exclusively with the Creative Assembly team about its game engine optimization for the upcoming Total War: Warhammer. Major moves to optimize and refactor the game engine include DirectX 12 integration, better CPU thread management (decoupling the logic and render threads), and GPU-assigned processing to lighten the CPU load.
The interview with Al Bickham, Studio Communications Manager at Creative Assembly, can be found in its entirety below. We hope to soon visit the topic of DirectX 12 support within the Total War: Warhammer engine.
Master of Orion (affectionately, “MoO”) has a decades-long history in the 4X gaming space. The title first shipped in 1993 under pre-bankruptcy publisher Atari, who have since sold the rights to Wargaming.net. Wargaming.net has proliferated through the market with its F2P “World of [Vehicles]” games (fill in the blank – Tanks, Warships, Ponies), but has an even longer history with more traditionally developed and released strategy titles. The company's legacy dates back to 1998 and its Massive Assault series of strategy games.
Today's emerging information on Master of Orion focuses on the game's espionage and economic victory mechanics, new milestones that will be available in the third phase of early access (freshly launched). The MoO team will also be rolling-out the Silicoid and Darlok races, bringing the re-imagined title back up to the original ten races of MoO. A few leaders of the game's ten races include Alan Tudyk (Wash, Firefly), John de Lancie (Q, TNG), Nolan North (Uncharted), Mark Hamill (Luke, Star Wars), and more. Michael Dorn (Worf, Star Trek: TNG) narrates the game.
Industry luminary Warren Spector helmed the keynote at the East Coast Game Conference yesterday in Raleigh. Readers of our Star Citizen (Chris Roberts) and Shroud of the Avatar (Richard Garriott) content are already familiar with Origin, the studio responsible for effectively inventing MMOs, early game graphics technologies, and pioneering PC mechanics. Spector was employee number twenty-six at Origin Systems – a self-described “old-timer” when compared against the studio's maximum 350 employee count – and has a history developing seminal games.
Spector worked at Origin with Richard Garriott, Chris Roberts, Dallas Snell, Starr Long, and other recognized industry veterans. In our interview with Warren Spector, we talk about what it was like working at Origin, behind-the-scenes stories, and throw-in a brief question about System Shock 3.
Our East Coast Game Conference coverage kicks-off with Epic Games' rendering technology, specifically as it pertains to implementation within upcoming MOBA “Paragon.” Epic Games artist Zak Parrish covered topics relating to hair, skin, eyes, and cloth, providing a top-level look at game graphics rendering techniques and pipelines.
The subject was Sparrow, a Braid-like playable archer hero with intensely detailed hair and lighting. Parrish used Sparrow to demonstrate each of his rendering points – but we'll start with sub-surface scattering, which may be a bit of a throwback for readers of our past screen-space subsurface scattering article (more recently in Black Ops III graphics guide).
Atlas Reactor is a “turn-based team tactics game” developed by Trion Worlds and currently in open alpha, although that will be replaced by a closed beta on April 14th. Small teams of “freelancers” compete to kill each other in simultaneous turn-based combat, for reasons that aren’t entirely clear (and don’t matter).
The words “fast-paced” get tossed around a lot in Atlas Reactor marketing materials, and it’s an accurate description. The tutorial mission implies a Frozen Synapse-esque game of turn-based strategy and careful planning, and the solo gameplay confirms that initial impression with leisurely minute-long planning phases. Competitive gameplay is much faster, however—decisions must be made in a matter of seconds, and things quickly become hectic. “Turn-based” and “fast-paced” aren’t often said in the same sentence, but it turns out they go pretty well together. The worst part of a turn-based game is waiting for the opponent’s turn to end; Monopoly would be a lot better if everyone had to complete their turns within five seconds. Also if families didn't play it together, but that's another story.
We've not been shy in our fierce criticisms of VR from a gaming perspective, but the maturation of development has yielded increasingly more mechanically-focused titles targeted at gamers. Mars 2030 aims to be more than a “VR Experience,” as most titles are, and we had the opportunity to get hands-on with the new game at GTC 2016.
Mars 2030 is developed by Fusion and was first shown at the GTC keynote, the Mars rover helmed by industry icon Steve Wozniak. The open-world game takes place on the surface of Mars and deploys unique techniques to match surface color, heights, and physical interaction with terrain. It's playable on non-VR displays as well (and it does look good on 21:9 aspect ratios, based on the keynote), but hopes to stake its flag into the VR market with an agnostic disposition toward the Vive and Rift. Mars 2030 will work on both major devices.
Our hands-on impressions with Mars 2030 left us reasonably impressed with the early demonstration of Fusion's attempt to cast players as astronauts.