Interviews

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.

Read More

“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.

Read More

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?

Read More

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.

Read More

It’s out now. For 1200 MSP, you can buy it and start playing it right away if you’d like. Funny thing about that, though — that should be old news. And it would be if The Behemoth had followed through with its plan to release BattleBlock Theater on XBLA back in 2010. Obviously, things didn’t quite work out that way, with the beat-em-up platformer having only just released yesterday. What happened? How could the developer have been so confident about 2010 that it was ready to tell the world that was the year and then ultimately be unable to finish BattleBlock Theater until three more calendar years passed it by?

Level Designer Ryan Horn has an explanation: the game wasn’t as fun as the team thought it was going to be. “I think we were hopeful about where the game was gonna be when we [planned] to release it,” he tells XBLAFans while sitting down for an interview at last month’s PAX East. “And then in between the time when we announced [the release window] and when we planned to release it at the time, we saw the game going in a direction that was fun, but we realized that we could take it in a slightly different direction that was going to be a lot more fun.”

With Horn having said his piece, studio President and co-founder John Baez expounds upon why The Behemoth felt its game could reach a state in 2010 that was up to The Behemoth’s considerably high standards of fun. Instead of going back to 2010, though, he looks a little deeper into his past. “The other component of [the delay] is that in our previous experience — I mean, Alien Hominid? Fifteen months, two consoles. Done out the door with an Xbox [version] following three months after that,” he begins. “And then Castle, it’s like, ‘OK, bigger game, three years.’” The prevailing feeling around The Behemoth’s San Diego office during the earlier development phase of Game #3, as BattleBlock was codenamed back then, was that it would not be as an ambitious of an undertaking as Castle Crashers.

Read More

“I wanted to take the balance of Arkham Asylum, you know – when to attack, when to counter, that balance – and add in more of a fighting game element,” says Chris Frechette, Lead Designer of Red Fly Studio’s upcoming Teenage Mutant Ninja Turtles: Out of the Shadows. He wants to bring more control and variety to the scheme, as he says, “Recognizable combos and special attacks so you feel like, ‘I just did that,’ and it’s not just a random attack.” Frechette has been guiding us through his action brawler, intent on recreating the fast and fluid teamwork-centric combat that’s the cornerstone of Turtles fiction.

When it comes to three-dimensional fighting schemes, it’s hard not to consider Arkham Asylum’s one of the greatest of the generation. It’s easy to pick up and play, empowering when employed against the mobs of thugs and street-trash that attack from all sides, and it’s extremely difficult – and rewarding – to master. But Frechette isn’t content to just repurpose what’s been done. As he walks us through what to expect when Out of the Shadows arrives, it’s clear he’s aiming for a whole new level of combat.

Read More

In our last look at Teenage Mutant Ninja Turtles: Out of the Shadows we learned how Red Fly Studio plans to bring thirty years of TMNT fans together. That’s no simple task. The TMNT name has been scattered to the wind since shortly after its inception, divided among the many incarnations of the fiction, each with their own differences. There are fans of the comics, fans of the movies and fans of the many animated shows. There’s no right way to appreciate the Turtles, it would seem. But as XBLAFans delved further into the game, guided by Lead Designer Chris Frechette and his passion for Out of the Shadows, we discovered the unifying appeal might be the differences in the turtles themselves.

If there is one universal truth that pumps through the heart of every Turtles fan past, present or future, it would seem to be this: everyone’s got a favorite. The dynamic personalities of each turtle are anchor points to latch onto, letting you identify with a personality that mirrors your own. Individually they hold their own strengths and weaknesses, but together they rely on one another to form a fighting force. Whether you’re the intelligent one, the honorable one, the funny one or the tough one, you’re represented in the diversity of the heroes in a half-shell. It’s a powerful sentiment that Red Fly Studio aims to leverage in its forthcoming title.

“One thing we wanted to do was not only have their personalities represented in their bodies and their facial animations, but blend that into combat in a way that hasn’t been done before,” Frechette says. He’s loaded up the Shadowboxing mode in Out of the Shadows, where players will be able to get a feel for a turtle and his unique combat style. Unlike earlier games in the Turtles saga, Out of the Shadows will incorporate separate fighting disciplines for each turtle, bringing their personalities to life during combat, not just when they’re cracking wise and talking trash.

Read More

It’s for The Behemoth’s booth at PAX East and Prime conventions to draw large crowds of gamers willing to wait in line for the chance to step up and play BattleBlock Theater. At each PAX for the past few years there’s always seemed to be an an amorphous throng of bodies awaiting their turn. As with anyone waiting in line, they could work together in groups of friends to navigate closer to a machine, or they could get a little more sassy and exploit someone else’s momentary pause or inattentiveness to edge their way ever closer to playing a game that also lets you work with or take advantage of others.

Last month, 10,000 more gamers were presented with the option of cooperating with or causing trouble for fellow players in the BattleBlock Theater beta. It wasn’t meant to be a free-for-all, however. Invitees received daily emails asking them to play certain game types on certain days. The Behemoth didn’t just want to let more gamers play its game early; it wanted gamers to help it make a better BattleBlock Theater. So when XBLAFans caught up with The Behemoth President and co-founder John Baez and Level Designer Ryan Horn in Boston two weekends ago, I had to know: did gamers follow instructions? Or did they give in to a desire to have fun their own way at the expense of helping to better the experience for the masses who will play the game for the first time tomorrow?

“They were really good,” said Horn of the beta testers’ willingness to follow instructions. “I mean, we didn’t expect 100 percent compliance — everybody’s busy. For the most part, all of the beta participants, they wanted to help us make the game better, and that’s what we got from them.”

Read More

“I was a huge fan as a kid. I had the toys, watched the movies, memorized the soundtracks,” says Chris Frechette of Red Fly Studio, Lead Designer on the next chapter of the Turtles’ (TMNT) tale. He’s seated at the other end of a small demo room littered with consoles, peripherals and colorful cushions. To his right sits Shaun Norton, Public Relations Director at Sandbox Strategies, who invited XBLAFans to tour the forthcoming Teenage Mutant Ninja Turtles: Out of the Shadows from Sandbox’s West Coast office, tucked away in an unassuming San Francisco backstreet.

Everyone in the room is a professed Turtles fan – it’s a safe place. We reminisce about TMNT: the films, the comics, the action figures and the animated series. We chat while the big-screen TV loops a placeholder Turtles tune from the ‘90s, fueling the nostalgia-laced conversation. It’s here that we discuss why the has-been franchise is ready for another run, and why Out of the Shadows is more than just a license – it’s fate. Read More

If PAX East 2013 is remembered for anything, it will undoubtedly be the contagion that swept the showroom floor. It wasn’t some handshake-induced strain that whipped through attendees and across the vast reaches of the internet. It was something far more potent: the long-dreamed resurrection of DuckTales and its infectious tune, spreading with airborne hums and whistles. By day’s end nowhere was safe, and among the eager mobs huddled around Capcom’s display booth hoping to catch a glimpse of their childhoods, it was ground zero.

When sounds of the infectious DuckTales Remastered theme song caught the ear of XBLAFans, we naturally investigated. We were intent on finding the culprit, daring to believe rumors of the nostalgic possibilities at the end of the line. What we found was Capcom Senior Product Marketing Manager Matt Dahlgren manning an arcade machine surrounded by toe-tapping onlookers and a flurry of questions.

“The whole game has been built from the ground up. They did start with the 8-bit version but everything’s been layered on top of it,” said Dahlgren, speaking of developer WayForward Technologies. “It has hand-drawn and animated sprites – the game looks like the cartoon.”

Read More