This is it. This is finally it. Our one good opportunity to see Dino Crisis HD-remade and released on digital platforms. This is so important I’ve written the entire post in bold big and you just be thankful I refrained from hitting caps.
It was a cruel turn of events that saw Rock Band 3 clamber up onto the throne the moment its music-rhythm kingdom came crumbling down around it…
Distinguished Brit and lord champion of acting dead Sean Bean once observed under the guise of Boromir that one does not simply walk into Mordor. He was wrong, but for the sake of this pathetically thin metaphor we’ll let him off. Replace ‘Mordor’ with any of Hotline Miami’s congested, human-sized meatgrinders and you’d have your very own videogame Mordor, albeit one painted in retro hues and pulsing to pummeling synth music. We’ll call it Disco Mordor.
Dinosaurs waging war with humans is the stuff of childhood dreams, but just how much of the magic makes it into Lukewarm Media’s Primal Carnage? We wade out into prehistoric fields to find out.
Back in summer of 2007 Irrational scooped up countless plaudits and awards with its gloomy yet inspired first-person shooter BioShock. After almost six years they’ve returned with BioShock Infinite.
It’s a BioShock game alright.
“This is an idea I’ve had for, I guess, going on 25 years.”
With Metro: Last Light pencilled in for an early 2013 launch, I sat down with 4A Games studio rep Huw Beynon to discuss how the developer has tightened the shooting without betraying the former game’s electric sense of vulnerability, just what’s going on in the narrative-driven first-person shooter space and how Last Light’s rich world has been brought screaming to life.
Back in 2011, developer 4A Games unveiled the first public footage of its apocalyptic first-person shooter Metro: Last Light. Bulging with set pieces and boasting a body count that stretched well into the 50s, the ten-minute reel failed to champion any of Metro 2033′s real glories bar, perhaps, its knack for thawing computer intestines.