Feature List

A supercross, a ninja track and a jaunt under the sea
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Mere weeks after the launch of the hotly anticipated Xbox 360 in 2005, rumor spread like wildfire of a dreaded video-game Grim Reaper. We didn’t know why, how or when he would strike — all we knew was that he manifested himself with three red lights, cursing 360 consoles with a permanent GAME OVER. Microsoft ensured us that it was a minor problem that happened only to a select few, but time eventually revealed the ugly truth: everyone was at risk. After class-action lawsuits and bitter word of mouth, Microsoft finally put a three-year warranty in place, guaranteeing that all systems affected by the red lights would be fixed at no charge.

Chances are you have your own story about the Three Red Lights of Death. Perhaps your console was under warranty and returned after a few weeks. Maybe you bought a new one to skip the wait. You may have even cracked it open and somehow fixed the problem yourself. For me, my first system was killed by Overlord, one month before the launch of Halo 3. Four years later, my second system croaked after the first level of Gears of War 3, at which point in time the warranty had expired.

The Wizard of X

A replacement Xbox 360 Slim would have set me back at least $300, so I was somewhat relieved when my local GameStop referred me to David Peyregne, owner of Computers for Less. Peyregne is an experienced technician who has run his own business fixing computers and video game systems for over a decade. A former journalism student who turned to computer science, Peyregne sometimes lets his southern drawl come through his hollow voice that was scarred from polyps at a young age. With a husky explanation, he handed my system back to me, good as new, for $100, a sum much less daunting than the cost of a new console. Recently, I sat down with Peyregne to get the whole story on the Red Ring of Death: what causes it and how does Peyregne fix it? As it turns out, it took him a long time to figure it all out.

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Max is your typical late-80s/early-90s video game or cartoon hero. He’s an adventurous young boy, colorfully drawn to life with a an oversized golden mane and a t-shirt that bearing a prominent reminder of the letter his first name begins with. He lives in a picturesque home in a neighborhood that is presumably full of residents who don’t know the meaning of the words “overcast” and “precipitation.” At the start of his adventure, a monster arm that’s more adorable than scary reaches out of his closet and nabs the little brother whom Max had just been fighting with. This event signals the beginning of an adventure that will see Max running through bright and varied environments and jumping over obstacles in his path.

But this isn’t the late ’80s. Nor is it the early ’90s. This is 2013. And in 2013, game and cartoon characters have guns. Usually big guns. Take, for example, one of XBLA’s most recent releases, Far Cry 3: Blood Dragon. Ubisoft’s ’80s love letter sealed with the blood of the titular dragons went so far as to give the player a minigun. Max: The Curse of the Brotherhood, however, does nothing of the sort.

“One of the things that is very appealing about this game is that Max isn’t armed with a minigun or a samurai sword, but he has this ability to control different kinds of materials that are in themselves not very dangerous,” says Mikkel Thorsted, studio director of Press Play, the developer behind Curse of the Brotherhood. “Basically he is armed with his imagination and wit, so basically when you encounter danger you have to outsmart the villainous henchmen. You have to outsmart them and lure them away, and stuff like that.”

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The shutdown of LucasArts by Disney early last month left many wondering about the fate of the Star Wars games. Disney had previously stated that their focus would be directed toward social games, and the with the demise of LucasArts fans wondered if all hope was lost. Who would save us from a sea of Star Wars Facebook and mobile games? Then an unlikely hero emerged. EA stepped in.

The announcement came yesterday to mixed reception. Some were optimistic, others were quick to point out EA’s reputation as the Consumerist’s Worst Company In America. On Twitter the #starwarsnextgen hash tag began to trend with ideas for new Star Wars titles, the majority coupling Star Wars Battlefront III with the Battlefield series engine, EA DICE at the helm. Others clamored for a new, non-MMO installment to the Knights of the Old Republic series.

Regardless of how you feel, it’s a very exciting time to be a Star Wars fan and a gamer. With LucasArts’ relatively poor showing the last 5-8 years there’s really only one direction Star Wars games can go. Up. So let’s take a few minutes to assess just why EA is a great choice for the franchise, and take a few more to note some potential caveats as well.

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The 2013 PAX East show floor was rife with crazy crowds clamoring for a chance to play the big games, but one odd figure stood out from the crowds. Imagine if Barney the Dinosaur had a little brother who forewent the path of children’s education and instead pursued hip beats, melodies and orchestrations of the newest, coolest music. That was Beatbuddy, the instantly lovable yet perplexing character rocking the show floor.

Nobody knows exactly who or what Beatbuddy is, but we do know that he lives inside a world where everything is musical. However, the Prince of Music, monarch of the music world, is so caught up in his fame and glory that he neglects a treacherous infestation of parasites corrupting the natural music ecosystem. Now, it’s up to Beatbuddy to step in and restore harmony (literally) to the land.

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The Incredible Adventures of Van Helsing touts everything you’ve come to know and expect from an action-RPG. It’s loaded with skills and spells, collectible weapons and armor, quests and discoveries. Sure, it’s reminiscent of those that have come before but, Van Helsing is its own beast, steeped in rich lore with enough innovation to strike out on its own. But what’s so incredible about the adventures of Van Helsing?

“The atmosphere, I think it’s very special,” says Linda Bozoradi, one half of the public relations conduit for Neocore Games. The other is Orsolya Toth, and both have been leading us through the brooding introduction to Van Helsing.

“A steampunk universe in an action-RPG is not a common thing,” Toth states. She’s not wrong. The world of Van Helsing is a strange one. Stuck somewhere between the mystical ways of the old world and the mechanical wonders of modernization.

The cinematic prologue sets the stage as a winding red line curves across a parchment map of Europe. It snakes through Paris, Venice, around the southern tip of Greece and through Istanbul. Each location accompanied by brief descriptions and hand-drawn renditions of an encounter in the region: Gaston the Butcher, The Shadow Casino, the Crimean War Dragon and The Krakken. As the latest in the long line of monster-hunting Van Helsings, our protagonist narrates these adventures, revealing his current assignment in the form of a mysterious letter asking for his family’s famed assistance in the land of Borgovia.

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“So, you guys wanna…play my game?” Mark of the Ninja Lead Designer Nels Anderson asks in a playful voice, his brow raising inquisitively and his hips swinging side to side in rhythm with the last three words of his question. It makes for a silly little dance that the XBLAFans crew gathered around him can’t help but laugh at. We’re about to play a stealth game tucked inside the walls of the Indie Megabooth here at PAX East, but Anderson, with his improv dance move, doesn’t exactly come off as sly.

No, Anderson can’t or won’t bring himself to be sneaky about Mark of the Ninja: Special Edition. His excitement over having us play his latest creation is such that he’s not going to follow in the silent footsteps of the game’s titular ninja. So he doesn’t lurk back in Klei’s personal Indie Megabooth crevice; he’s energetic, and it’s not long before he puts a controller in my hands. Now our attention turns to the screen where all of the requisite sneaking will be performed.

Whereas its contemporaries have tended to make the ninja into an action hero who’s so far over the top that he’d likely make the cast of The Expendables blush, Mark of the Ninja has always emphasized the ninja as a virtually unseen agent of death and/or stealthy sabotage. Whether approaching levels as a killer who isn’t detected until its too late or an infiltrator who isn’t detected at all, players had to stick to the shadows and remain as invisible as possible in order to achieve any kind of measure of success. It was a great system, but one that meant enemies presented but two choices: players could kill them or avoid them. Mark of the Ninja: Special Edition adds another option to the mix.

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As we mourn the loss of one of the greats, we find potential hope for the future as well.
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It beckons, and you respond. What else would you do? It’s not as if an abundance of other options manifest themselves, really. Your surroundings tell you it will be dangerous to go alone without it, and “it” even goes so far as to articulate its desire to become your traveling companion.

You seem to have just missed some sort of a skirmish, and at least one person ended up dead during the fighting. Someone, presumably the killer, has conveniently left the enormous techno-sword that felled the recently deceased implanted firmly in the poor fellow’s torso. The transistor speaks; it beckons, and you respond. What else would you do?

You relieve its most recent victim of the burden of bearing it any longer, and Supergiant Games’ Transistor begins proper. Red — the beautiful, slender former songstress who was introduced a moment ago in a cut-scene colored as much by her fiery hair as by her heavenly singing — seems a strange choice to wield something so powerful, so…cumbersome. If appearances are to be trusted, Red’s but a delicate thing, not suited to wield such a large weapon. But wield it she does. She hefts the blade with two hands, letting its considerable girth drag behind her as if she were auditioning for the role of leading man in a JRPG from a bygone era.

Swinging the thing reveals that its weight matches its size. Red arcs the chatty transistor over her head and brings it crashing down in front of her with considerable effort. You feel its weight as she does so. It slows Red, restricting her to trotting at only a moderate pace around this futuristic world that is somehow simultaneously flooded with artificial light and dark and foreboding. Her attacks feel deliberate and powerful as they smash the robotic aggressors that spawn before her to bits.

The robots are part of something known as “the Process,” and they want it back. They want the transistor that was so negligently left behind earlier. The transistor has much to say, but its (his?) words are cryptic, leaving you with many questions. What is the Process? What is the transistor? Who is Red, for that matter? Do she and the transistor know each other?

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We’ve been talking all week about the turtles’ return to game form and the specifics of Red Fly Studio’s plan to unchain your inner turtle. Teenage Mutant Ninja Turtles: Out of the Shadows is trying to do a lot of interesting things. It’s attempting to merge the original spirit of the fiction with the appeal and accessibility of the new animated series. It’s injecting personality into the titular characters, not just in their dialogue, but their combat styles and mannerisms. It’s building a fighting scheme that’s trying to marry fast and fluid with balance and intuition and imbue elements of control and variety more closely at home in a fighting game than a brawler. It’s attempting to do all of this, but at the end of the day, it’s still a game – so let’s talk about gamification.

There’s no place like home

If Out of the Shadows excels anywhere, it’s in going the extra mile to incorporate all those little pieces of Turtles fiction that really drives home the experience. The game’s main menu structure, which could have been a series of colored rectangles: Campaign, Mission, Extras – has been smartly incorporated into the turtles’ interactive underground headquarters. You’ll roam the halls and visit the many facilities, each one with a unique purpose, as Frechette explains.

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