TIME Video Games

With Its Fire Phone Demo, Amazon Revealed It Still Doesn’t Understand Gaming


Like Tom Cruise in Minority Report, Amazon CEO Jeff Bezos confused the idea of gesturing with substance when he tried to show of the new Fire Phone's gaming prowess.

You may have noticed no one’s saying much about Amazon’s new gee-whiz Fire Phone as a gaming device. Amazon itself gave gaming short shrift during the phone’s unveiling yesterday, clipping out all of a minute and a half — from a presentation that ran to nearly an hour and a half — to demonstrate something Jeff Bezos called Tofu Fury.

In the game, you maneuver a little headband-toting cube of pugnacious soy through ordinarily laid out 2D levels with a dash of depth. Tilt the Fire Phone this way or that and your perspective on the 2.5D imagery shifts as if the phone were a tiny shadow box.

You can see the demo in the below video at the 53:45 mark:

“I think you can probably imagine what the dynamic perspective technology can enable for gamers,” said Bezos as he coasted sedately through the demo, qualifying it as “one very quick thing” at the outset, as if to assure the audience he’d move speedily through this show of frivolity. In those four words, he may have unwittingly conveyed all we needed to know about his and Amazon’s vision of gaming on the Fire Phone.

Then he held up Tofu Fury and started moving the phone. The perspective shifted. He moved it some more. The perspective shifted some more. The level sat there, looking like any other level in a platform game. No one ooh’d or ahh’d. The audience was either stunned to silence or as bored as I was. This was Amazon’s vision of cutting-edge gaming on its debut phone? Nintendo’s 3DS with one of its dual screens and all the controller buttons lopped off?

“What you can do here is look around on this image,” said Bezos, demonstrating that feature some more. You can’t look “everywhere,” as he claimed, just slightly left or right, up or down, maybe 45 degrees (at best) from head-on. Bezos explained your job was to rescue Fortune Kitty, a pinkish, catlike cookie crisp. The audience finally reacted by chuckling. I was still, at this point, hoping Bezos might illustrate some interesting new game idea, something that actually took advantage of the motion sensors in a way that factored in the gameplay somehow. But no, he just swiped to indicate the direction he wanted tofu-Jet-Li to move, then watched as the soy block hopped nimbly from point to point, collecting most of a line of blue orbs and landing on the next level down.

“We’re gonna call that good enough, but notice how I can look around!” said Bezos, obsessed with the notion that looking around — even when it has no meaningful gameplay purpose — could sell the idea. It didn’t. To paraphrase the late Douglas Adams, Amazon’s idea of gaming on its Fire Phone hung in the air exactly the way bricks don’t.

Maybe if he’d demonstrated a first-person game where you had to tilt the phone to look around corners, or a puzzle game where seeing what’s on the other side of something helped you calculate the solution. Even then, I’m as leery of this approach to gaming on smartphones as I’ve long been about stereoscopic 3D in movies, TVs and on Nintendo’s 3DS, where it’s actually been the inverse of its technological promise: all surface, no depth.

To be fair, I’m making a mountain out of a molehill: Fire Phone v1.0, with Firefly and its hooks into Amazon’s mercantile backend, is arguably a zillion other things before it’s a games platform. It hardly needs games or a clever gaming interface angle to work. If I suggest that Jeff Bezos doesn’t understand or frankly care all that much about making fireworks in gaming-dom, I’m not sure he’d disagree. Bezos, like Steve Jobs before him, must at least understand that smartphones like the iPhone or Fire Phone won’t have booths the size of city blocks dedicated to them at trade fairs like E3 anytime soon. You’ll probably never play a game like Grand Theft Auto V — a game that earned $1 billion in just three days, clinching the world record for fastest-selling entertainment product across any medium — or Call of Duty: Advanced Warfare on a 4.7-inch screen.

None of that’s news. The problem’s not that anyone wants those games on a smartphone, it’s that Amazon seems not to know how to play up its technology’s strengths. It should have demonstrated a game that actually took advantage of the Fire Phone’s “dynamic perspective” technology. It should have showed off meaningfully motion- or perspective-related gameplay. It didn’t. Instead, its CEO simply panned around an ordinary-looking game — one I’d be just as mechanically comfortable playing on an ordinary iPhone.

TIME e3 2014

The New Alien Is Exactly What Horror Should Be Like

Calling all Horror Junkies: Your new fix is not on the silver-screen, but rather under the thumb of a joystick.

Fans of the original Alien might be jaded by news of alien game tie-ins: since 1982 there have been over 30 Alien video games on everything from the Commodore 64 to the current generation of gaming consoles. SEGA’s last adaptation, Alien: Colonial Marines, was released just a year ago to poor reviews. The game was filled with bugs, and failed to capture the terror of the original film.

Despite all of that, SEGA’s next release, Alien: Isolation, is of a different breed then its predecessors. Rather than relying on the worn genre of the first-person shooter, this Alien is pure survival-horror. Set 15 years after the first movie you take control of the protagonist Amanda Ripley, who uses her wits to survive to against just one Xenomorph.

The most visceral horror, whether it be a motion picture or interactive entertainment, is subtle and uses different techniques to put the player at unease. Based on SEGA’s E3 demos, the game’s developers seem to understand this.

“Sometimes a huge part of horror is actually not being able to see to see the thing that is hunting you,” lead designer, Gary Napper, said.

With any luck, we’ll finally have an Alien game worth playing when Alien: Isolation releases on October 7th. Though, fans of the franchise have all the right to continue staying skeptical. For more of the inside scoop on the game from Lead Designer Gary Napper, check out the video above.


Re-Live the French Revolution: Assassin’s Creed – Unity the Inside Scoop

Try not to lose your head, Assassin's Creed Unity puts players in the midst of revolutionary France.

Assassins’s Creed is the Da Vinci Code for video games; steeped in mystery, lush with the tales of secret societies, and fueled by a search for mysterious artifacts. On October 28th, 2014, the world of Assassin’s Creed is coming out with another piece to the puzzle of its long and tangled alternate universe: Assassin’s Creed – Unity. Set during the French Revolution in the late 1700’s you take control of the character Arno Dorian, following his journey from a child to becoming another instrument of war in a centuries long battle between the Templars and the Assassins.

This latest entry in the franchise was designed completely from the ground up for the current generation of consoles, unlike the last iteration Assassin’s Creed – Black Flag, which was a multi-generational title. That means that this game won’t be limited by the horsepower of 9-year-old consoles – It’s truly ‘Next-gen.’ For more of the inside scoop, watch the video above.

TIME Video Games

New Call of Duty: Advanced Warfare Trailer Tells the Story of Its Story

In the new trailer, Sledgehammer Games' creative director explains that the game's future setting is firmly grounded in the present.

It’s short and splashy and won’t tell you any more about Kevin Spacey’s heavily hyped role in Call of Duty: Advanced Warfare, but Sledgehammer creative director Bret Robbins does clarify a few details about the futuristic arsenal you’ll be wielding in the game. That’s actually kind of important to understand for the following reason.

When I spoke with Sledgehammer co-founders Glen Schofield and Michael Condrey at E3 last week, they were keen to point out that Advanced Warfare isn’t a science fiction game. I told them that in fact it was, and that they’d stumbled into a debate that’s been raging for years over whether science fiction equals speculative fiction, say novels like Margaret Atwood’s Oryx and Crake or Cormac McCarthy’s The Road, or the file drawer that Kurt Vonnegut quipped “so many serious critics regularly mistake … for a urinal.” Advanced Warfare takes place 40 years in the future and employs tech extrapolated from existing and near-future military concepts. That makes it the epitome of science fiction in my book.

I’m not sure what to make of Advanced Warfare‘s story at this point. Sledgehammer wasn’t talking at E3, and I didn’t really want to know. I know I haven’t enjoyed a Call of Duty story-wise for…well, maybe ever. But I did get the sense while watching the stealth demo at the show (you haven’t seen it, but when you do, you’ll understand), that the interactive narrative — the one you’ll create on the fly as you creep through the world in your tricked out exoskeletal suit — was much more than just the multiplayer tutorial these campaigns too often become.

TIME e3 2014

Activision’s Eric Hirshberg Explains Why His Company Is Disruptive

CEO Eric Hirshberg sat down with TIME at E3 to discuss how Activision has grown since he arrived four years ago and what's next on its gaming lineup

Activision CEO Eric Hirshberg is at ease in the spotlight, four years after leaving ad company Deutsch LA to fill then-resigning Activision CEO Mike Griffith’s shoes. Hirshberg’s arrival at one of the largest publishers in the gaming industry came on the heels of sudden departures and legal brouhaha between Activision and esteemed members of its rainmaking Infinity Ward Call of Duty development studio. Many at the time worried Call of Duty, absent two of its studio founders and dozens of others, was in deep franchise-threatening trouble.

But since then, Activision—founded in 1979 by a bunch of ex-Atari programmers and responsible for some of the industry’s most recognized games—has grown by leaps and bounds, its stock price more than doubling since Hirshberg started. The Call of Duty series alone has become one of the top 10 game franchises with more than 120 million units sold worldwide, and the Skylanders toy-game series surpassed the $2 billion sales mark earlier this year, moving 175 million tiny plastic figurines (and seven games: three for iOS/Android, one for web and three going on a fourth this October for consoles) since launching just over two years ago.

At the end of the summer, Activision will ship one of 2014’s most anticipated games, Destiny, from the makers of Halo. Bungie’s sci-fi multiplayer-angled opus will ship for last- as well as current-generation consoles on Sept. 9. In early May, Reuters reported that the development and marketing expenditures for Destiny alone would top $500 million—another Hollywood-stomping record. If Hirshberg has his way, the returns (he’s anticipating revenue in the billions) will dwarf that investment.

Suggest that the company’s stifling its competition or leaning too heavily on safe moneymaking bets, and Hirshberg will claim otherwise. He may have a point: Of the company’s top three tentpole games at E3 2014—Call of Duty: Advanced Warfare, Skylanders: Trap Team and Destiny—one of those franchises didn’t exist three years ago and the other has yet to appear on stage.

For more on Activision’s lineup, take a look at the video above.

TIME Video Games

Sony Says PS4 “Wins” May, Game Sales Surge Across the Board


Let the good times roll: In May 2014, video game sales roared to life after months of declines.

Monthly video game sales for May 2014 arrived late last night courtesy NPD Group, with the sales tracker noting — along with Sony, which deployed a beaming media email — that the PS4 was the best-selling games console for the fifth month in a row. Sony added that the Ps4 was numero uno for both hardware as well as “next gen” software sales, claiming four of the latter category’s top five slots. Numero two was not the Xbox One, but rather Nintendo’s 3DS (according to Nintendo).

Unsurprisingly, Wii U sales were up year-on-year, off sales of Mario Kart 8 (reviewed here), which took the number two software spot all by itself, following Watch Dogs (reviewed here) tallied across five discrete platforms. Those two games probably had the most to do with May’s software surge, followed by Wolfenstein: The New Order (reviewed here), The Amazing Spider-Man 2 and Kirby: Triple Deluxe.

In a separate dispatch, Nintendo described Wii U sales as up 85% month-on-month and 90% year-on-year. The company had previously tagged Mario Kart 8 sales at 1.2 million worldwide during the racer’s first weekend (it launched on May 30).

NPD says hardware sales were $187 million, up 95% year-on-year, followed by software sales of $274 million (up 57%) and overall retail sales of $586 million (up 52%). The latter’s significant because NPD says the last time we saw this kind of growth was back in June 2008.

Continuing in its attempt to juggle the widening divide between physical and digital content sales, NPD notes those figures cover “roughly 50 percent of the total consumer spend on games,” and it estimates the total consumer spend in May, taking into consideration used and rentals ($124 million) as well as digital content and social network games ($787 million), the actual outlay for May was $1.46 billion.

While the PS4 and Xbox One have yet to experience year-on-year comparisons (they just arrived last November), NPD says both the Wii U and PS Vita did better this May than the prior year, though specific figures weren’t offered. Apparently Sony’s Borderlands 2 bundle gave the Vita a boost, while Nintendo’s Mario Kart 8 bundle helped bring fresh Wii U owners to Nintendo’s fold.

At last check, around the end of March and in worldwide terms, Sony said it had sold some 7 million PS4s, Microsoft that it had shipped around 5 million Xbox Ones and Nintendo that it had sold just over 6 million Wii Us.

TIME e3 2014

The Witness at E3: A Tranquil Island in a Sea of Chaos

The Witness

Jonathan Blow won’t admit to this, but the experience of meeting him to see The Witness at E3 was kind of like playing the game itself.

Per Sony’s instructions, I arrive at a private meeting room away from the show floor. Only there’s no sign outside the door, and no customary PR people or security guards to keep out uninvited guests. The door is propped open with a narrow trash bin–the only indication that there’s anything happening inside.

I poke my head in and discover a spacious room with an unmanned reception table by the door. At the far end of the room, someone’s sitting on an L-shaped couch, her back turned as she plays a game. It’s quiet from where I’m standing, so I walk in a little further.

Around the corner, dressed casually and sitting at a long table, is the only other person in the room. I hear him mumble my name and publication as he stands up, coming closer and extending a hand in my direction. That’s when I realize it’s Blow, and — contrary to the excessive staffing and hand-holding at every other appointment I’ve had this week — he’s running this entire preview by himself. He hands me a PlayStation 4 controller, asks how much time I have, and says he’ll be back later to talk.

Like Braid, Blow’s runaway indie hit from 2008, The Witness doesn’t spoon-feed its players. You’ll never see any signposts, explicit tutorials or hints to ensure your smooth progress. In fact, both Braid and The Witness skip the formalities of a “Press Start” screen or opening cutscene, and begin with you staring at something motionless — in The Witness’ case, the light at the end of a tunnel. As you stare at the screen, there’s this magic moment in which you nudge the thumbstick forward out of confusion, and realize the game actually began several seconds ago.

I’m feeling a little anxious as I move along the game’s path, out of the tunnel and into a walled garden. In the past, Blow has discouraged players from seeking answers to his games’ puzzles, and bristled at explaining the meanings behind his work. Braid was no cakewalk, and I only have about half hour to spend with The Witness. What’s going to happen if I get stuck or can’t figure out what’s going on?

Fortunately, the walls of this garden are easy enough to escape. Scattered throughout are some small panels with a maze-like pattern etched onto them. You can engage with these panels and trace a line on them with the thumbstick, the goal being to find an unobstructed path from start to finish. They’re no more difficult than the mazes you’d find on the back of a cereal box, so I complete a few of them, which in turn reveal a final panel to open the exit door.

From here, the game opens up into a colorful, tree-lined world, spreading far beyond what I can see. There’s an obvious path to walk down, but I cut left through some shrubbery, and discover a narrow trail that leads back along the outside of the starting outpost, next to a vast body of water. It’s blocked by a door with yet another panel, connected to a ribbon that leads back over the wall and into the garden. I spend some time exploring the grounds, figuring out how to open the door and moving along the hidden path, which only leads to another door I can’t manage to open.

That last sentence might as well describe the rest of my time with The Witness. Outside the garden, the maze-like puzzles become much more complex, with new rules to decipher. I solve a few of them, but otherwise spend the demo getting lost in the architecture, in which my character is completely alone. I’m poking around in a hedge maze when Blow returns from another interview, eager to see how I did. Maybe I’m projecting, but I sensed some disappointment. He spends a couple of minutes explaining some of the other things I could have done.

I intend to ask Blow how he’d feel about someone looking up the solutions to The Witness’ puzzles online, but he seems to anticipate the question, explaining that it’s okay to get stuck.

“We’re always trying to give people a lot of choice about where they want to go, and if they get stuck on something that they don’t understand, they can go somewhere else,” Blow says. “And if they don’t understand that, they can just keep bouncing around, and eventually something will stick, and from there that might give people ideas about earlier areas where they were that they didn’t understand at the time.”

It’s for this reason that Blow also doesn’t mind people having different interpretations of the game’s story, told through recordings scattered around the island. These weren’t present in the E3 demo, but the idea is that players can find them in any order, because the entire island is open for exploration from the beginning.

“The story has to be designed to encounter it in different orders and still be interesting, so that by itself is an interesting challenge,” Blow says. “But then we get to play interesting games, like might you have a different interpretation of what’s going on if you heard some part first and then a different part, versus if you heard those in the opposite order … or not at all?”

So how would Blow feel about cheating, even for just a few puzzles? “In this game,” he says, “that would be so unrewarding that I don’t think people will do it very much.”

The Witness is coming to PlayStation 4 later this year, and is also due to launch at some point on PC and iOS.

TIME e3 2014

This Is What Nintendo’s Shigeru Miyamoto Thinks of Virtual Reality

Nintendo Shigeru Miyamoto plays Project Giant Robot, using the GamePad's motion control sensors to move the robot's torso.

The creator of Donkey Kong and Mario says he has "a little bit of uneasiness" at the prospect of gamers putting on goggles and playing by themselves.

Last week, the first half of my interview with Nintendo legend Shigeru Miyamoto touched on a pair of experimental new Wii U GamePad-centered games, as well as the company’s new Star Fox shooter for Wii U with its unique combinative control scheme.

After we spoke of those projects, I had a chance to ask Miyamoto several more broadly ranging questions, including one about virtual reality, the current industry interface-paramour. As always, his responses were playful, self-effacing, articulate and revelatory.

What are your thoughts on virtual reality today, and is Nintendo doing or thinking about anything in this space? Are we at the right point, technology-wise, to see this become more than a novelty peripheral?

We’ve been doing our own experiments with virtual reality dating back to the Virtual Boy. And even to some degree, the 3DS was designed with a little bit of this in mind with its stereoscopic 3D. So we’re always looking at hardware and assessing what’s possible.

And of course we understand that the hardware and technology have begun to drop in price. It’s still not at a cost basis that makes it easy for everyone to purchase as a mass-market product. But certainly it’s dropped somewhat.

As game designers, we at Nintendo are interested in VR technology and what it can do, but at the same time what we’re trying to do with Wii U is to create games for everyone in the living room. We want the Wii U to be a game system that brings video gamers into the living room. As as I explained last night [Sunday, June 8], it’s intended to be fun not only for the person who’s playing, but also for the people who are watching.

When you think about what virtual reality is, which is one person putting on some goggles and playing by themselves kind of over in a corner, or maybe they go into a separate room and they spend all their time alone playing in that virtual reality, that’s in direct contrast with what it is we’re trying to achieve with Wii U. And so I have a little bit of uneasiness with whether or not that’s the best way for people to play.

So from Nintendo’s perspective, there’s interest in the technology, but we think it might be better suited to some sort of attraction style of entertainment, say something at a video game arcade or things like that, rather than something that one person plays alone.

When we spoke a year ago, you said the Wii U’s development environment was a lot more complex than the Wii’s, which was impacting the rate of game completion and resulting in a lot of games being delayed. What are developers saying about the Wii U at this point?

It’s improved quite a bit from about a year ago, because we introduced Unity [a cross-platform game development engine] for Wii U. That’s actually enabled teams, even small teams, to be able to leverage that Unity development library to build games on Wii U. And so that’s changed the situation.

We’ve also finished really training our in-house designers and developers. Now we’re able with our internal teams to develop at a fairly quick pace as well.

How do you feel in 2014 — with such a flourishing games market, revenue-wise, and so many people in the business and so many copycat games — about game design? Is it harder for you now in that crowded market-space, or is it easier because of all the new design toolset possibilities to come up with novel gameplay ideas?

If you look at something like Project Guard, that was something that because the hardware itself is more capable now, and the processing power is better, we’ve been able to go back to an old idea and bring it to life on a new system. So there’s those types of examples.

And then you have other examples, such as the Louvre audio guide that we did on 3DS for the Louvre museum. That’s an example of taking something that existed in another medium previously, but because of the processing power and capabilities of gaming hardware, we were able to bring that to life in a new way that was interactive and created a new experience for users.

I think that where the games industry has come now, there’s more and more potential for us to look at those types of other mediums, where there may be something that exists in an original state, and by bringing that into an interactive state, we can do a lot of new and different things with it.

So I think there’s quite a bit of potential within the industry right now. But where I think there isn’t potential is in looking at what other people have done and simply copying games that already exist and trying to create your own version of that.

You’ve indicated that the conversation in game design should be about design, not power. And yet there’s the counterargument that greater processing power is like giving a painter more colors to paint with (even if painters only choose to employ a handful of them). Does Nintendo need to be more concerned with thinking not just about innovating on the interface side, but in terms of processing versatility as well?

I think that there’s a lot of different ways you can surprise an audience. Certainly some of those can be just with the graphics, or the characters and things like that. But I also think that there’s the ability to surprise people without those high specs using things like innovation and uniqueness and surprise within the gameplay.

For me, where I often struggle is when you present an idea and then it takes you a very long time to bring that idea to fruition because of the amount of work that goes into creating all the details necessary. So I tend to look for something that allows me to create my ideas in a way that doesn’t require as much work. I think that that’s able to bring us closer to what makes the game fun and interesting.

I also think that what’s important is timing within the entertainment industry; the timing with which you’re releasing these games. And so being able to create the games and bring them out in a way that you’re timing it right and surprising people with what’s in the game is also very important.

You told me last year that the Wii U was the most suitable device for the living room, given the uniqueness of the Wii U GamePad as a TV. Do you believe that’s true today, at least in the U.S., given the proliferation of less expensive devices like Roku and Amazon Fire TV? Why would people want the Wii U as a TV interface device given the rising popularity of those others?

When we first started designing Wii U, we had two ideas in mind.

One was that we wanted to design Wii U so you could start it up and play it even if you didn’t have access to the TV screen. That’s why we gave the Wii U its own independent screen with the GamePad.

The second thing we wanted to do was we wanted everyone to feel that Wii U was a devic — or set-top box or whatever you want to call it — that would be most convenient for everyone to have connected to their TV because of the way you’re able to interact with the screen and control the TV.

When we designed the Wii U, we designed it in a way that would allow you to do a lot of different things with your TV. For example, when you’re watching YouTube, people tend to watch YouTube alone, but we thought it’d be more fun for everyone to watch YouTube together. But when you do that, you then have to wait for someone to find the next thing to watch. We designed it so that while everyone’s watching YouTube on the TV, someone can be choosing what they want to watch next.

The same thing goes for streaming services. And then we also have in Japan a karaoke service where the whole family can be in front of the TV and singing karaoke, and while you’re waiting for your turn, you can be choosing what you’re going to sing next. We designed Wii U from the beginning to take advantage of that ability and give you new ways to use the TV, to be a device that gives the TV a lot of different uses in a convenient way.

What’s different between Wii U and other set-top streaming boxes is those boxes cost just $100 and all they do is send content to the TV. But with Wii U, it not only sends content to the TV, it also takes the content that can be on your TV and gives you instant access to that content by sending it all to the Wii U GamePad as well. You’re able to interact with it very easily and simply, and you get all of this in a box that only costs $300. We feel that for what Wii U is capable of doing, it’s a very versatile system and good value. But I think a lot of people look at it as just a gaming machine, they look at that $300 as the price for a game machine and they don’t get a sense for how good that value is.

That strikes me as one of your biggest challenges. I don’t know anyone, really, who uses their Wii U as a TV device.

It’s an important message, but the challenge for me is that if I start talking about those uses of Wii U, everybody starts asking me, “Well, what about the games?” But yes, what I hope is that everyone will start to understand and start telling each other that Wii U is a great thing to have connected to your TV because of everything it can do.

You mentioned at the pre-brief that you yourself had been working on the Wii U system update that dropped recently and added a quick start menu. Can you tell us anything about other future updates you’re planning for the system?

Yes, we’re definitely working on additional system updates. But the challenge is that any time you do an update that big, it requires quite a bit of testing. We can’t do those very frequently, but I can say that we’re already working on the next system update.

Some years ago, you said you were handing the reins to Zelda, Mario, Donkey Kong and such off to your teams because you felt the teams were ready and you wanted to work on smaller projects. Do you miss working on those games at all today? Or do you like finally being able to experience them as a player, having had someone else design them?

[Laughs] It’s not that I’m completely uninvolved in those games. I do spend a lot of time giving my teams feedback on overall direction, but then the other thing I do is, as they’re developing the game, they’ll bring it to me and I’ll play it and I’ll be the representative of the first-time user. I’ll say things like, “Man, this isn’t the way I want this thing to play.” So I’ll give them a lot of direction on where to go from there.

TIME e3 2014

WATCH: The New Game That Lets You Ride Elephants – FarCry 4 Insider Interview

Far Cry 4 will have rideable elephants!

Since their first game’s release in 2004, the Far Cry series has steadily improved with each new iteration. The next installment of the franchise focuses on the fictional region Kyrat, set in the Himalayas, and a protagonist named “Ajay Ghale,” who gets caught up in a war between a self-appointed king named “Pagan Min” and the country’s rebels.

Unlike some games that might start with a plot idea and build from there, Far Cry 4 began with a very specific gameplay element.

“So our game director was like, okay look — here’s what I want: I want to be able to get on-top of an elephant, and I want to be able to smash through the walls of an outpost that’s actually an fortress that could also fight back and I want to do that in co-op so if there’s two elephants you can do that too,” Executive Producer Dan Hays told Gamespot. “And we were like okay, lets do that.”

For more of the inside scoop, check out the video above. Far Cry 4 releases on November 18th, 2014.

TIME e3 2014

E3 Hidden Gems: Our Sleeper Picks for 2014

Sometimes, E3’s biggest delights are unexpected. They’re not the subject of endless looping video trailers, or massive billboards on the convention center’s outer walls. Some of them aren’t even on the show floor. Here are eight of our favorite hidden gems from 2014’s show:


Jared: Do I detect a hint of Rolling Thunder in this spy noir, platform shooter? Like that old arcade gem, CounterSpy combines lanky, comic-style characters, cover-based shooting and plenty of vertical movement between platforms. But it also throws in a dash of stealth combat, a soundtrack full of twangy guitars and a tone that vaguely mocks the Cold War–enough to look like the game Rolling Thunder might have become if it hadn’t been forgotten.

You play a secret agent trying to maintain the balance between two rival superpowers–not exactly the United States and Soviet Union, but close enough–by playing both sides against the middle. This involves all the usual secret agent stuff: infiltrating compounds, stealing documents and securing launch codes. Is CounterSpy breaking barriers in gaming? Probably not, but it looks like a blast anyway.

PS3, PS4, PS Vita / 2014

Dying Light

Jared: Though I’m pretty sure the world would be okay without any new zombie games, Dying Light makes the case for having just one more. By giving players parkour-like climbing abilities, the emphasis here is on sticking to the rooftops and avoiding the hordes below. At least that’s the case until you’ve managed to craft some more powerful weapons, or a grappling hook to help you scurry along. There’s an air of The Walking Dead here as well, as players will deal with both friendly and hostile humans along the way.

PS3, PS4, Xbox 360, Xbox One, PC / February 2015


Matt: After the spectacle of Sony’s press event, my first chance to sample Pixelopus’ Entwined — a game about separated lovers you’re tasked with bring together — was at Sony’s press booth. At first blush, it reminded me a little of Tempest (the look I mean, not the gameplay).

In Tempest, you roll a claw-like ship around a 360-degree field made up of vector graphic segments. In Entwined, you roll paper mache-like representations of a bird and fish, each guided with one of the gamepad’s thumbsticks simultaneously, around a 360-degree moving tunnel (each creature gets half, or 180 degrees) as you attempt to align them with vector graphic patterns or glowing orbs. Pull off enough of these in a level and the creatures will merge, transforming into a dragon (and the game into a meditative free-roaming exercise, until you’re ready to split them apart and take on the next lifetime).

I’m probably selling the visual design short: The playing field resembles more the shimmering, kaleidoscopic time-tunnel Doctor Who’s TARDIS hurtles through, only here that tunnel’s filled with obstacles that grow in complexity and race by at increasing speeds. It’s the sort of experience you might reflect on using words like hypnotic, contemplative, uplifting and so forth. And yet there was nothing pretentious about it: artfulness without a trace of ostentation.

PS3, PS4, PS Vita / Available Now

Get Even

Jared: Tucked into a private presentation on indie games for Xbox, Get Even is so ambitious that it could either be an unexpected triumph or a total disaster. You play a detective who must explore his memories–many of them based on gritty locales in real-life Poland–to alter the future.

In one sequence, the player identifies a shooting victim with the help of facial recognition smartphone software, then returns to an earlier point in the memory with a rifle to attack the assailants. Moving in slow motion, he finally finds the victim staring at the end of a gun, and takes the victim’s place in front of the fatal bullet. Players will also get to choose between alternate story lines and, in a nod to Dark Souls, encounter other players in parallel dimensions. There’s a lot going on here, but at the very least it’s not the risk-averse fare that dominates the show floor.

PC and Xbox One / 2015

Murasaki Baby

Matt: Finally, a developer that knows what the PS Vita’s rear touchpad is for. In Murasaki Baby, a game about guiding a frightened child through a nightmare-scape by way of Tim Burton and H.P. Lovecraft, you cycle through eerie backgrounds on-the-fly using the Vita’s rear touchpad. Only here those backgrounds harbor gameplay devices, each designed to help provide — or hinder — solutions to environment-related puzzles.

Cycle in a purplish, storm-filled background, for instance, and the resultant rain can fill a reservoir to lift a low-lying object. Cycle in an orangish background sporting a windmill and you’ll unleash a gale force that blows enemies (like flying safety pins) away. The demo suggested an only mildly difficult game, action-wise, but then the emphasis seemed to be on synchronizing background and foreground, wielding gameplay elements that set (and reset) the narrative tone on the fly.

PS Vita / 2014

Ori and the Blind Forest

Matt: If Level 5 and Studio Ghibli’s Ni No Kuni was a paean to filmmaker Hayao Miyazaki’s whimsical moods, Ori and the Blind Forest — a puzzle-platformer from Moon Studios — looks more like a hat tip to the kodama forest sequences in Princess Mononoke.

At this point we know relatively little about the game itself. You’re a tiny, nimble, glowing creature — your own source of light. You collect energy cells to boost some kind of internal power source that lets you spawn save points. You’ll accrue points that let you unlock new abilities. And there’s a lot of Metroidvania back-and-forth leaping, plummeting and spelunking as you plumb the game’s dark fantasy depths.

For the record, Ori seems nothing like Ubisoft’s Child of Light, which wed a narrative told in poetic verse to a platformer in which hostile encounters triggered turn-based battles. Battles in Ori are in real time, and the coming-of-age exposition looks to be relayed through straightforward encounters, not rhymed narration.

Xbox 360, Xbox One, PC / 2014

The Talos Principle

Jared: Yes, it’s another entrant in the “puzzle game with a deeply philosophical storyline” genre, but I’m intrigued by how The Talos Principle introduces a tug-of-war between a godlike entity and a computer program. In between rounds of brain-teasers, the player must decide how to interact with these two forces, in turn shaping the game’s outcome. This is a pretty big departure for Croteam, best known for its frantic first-person shooter Serious Sam, and it’s brought in writer Tom Jubert (The Swapper) to help the company indulge its artistic side. Here’s hoping it turns out well.

PC / Q3 2014

The Witness

Jared: Jon Blow’s next indie masterwork has been five years in the making, and it’s now at a point where the entire world is open to explore. Sadly, a 30-minute demo wasn’t nearly enough to cover it all, as The Witness’ obtuse puzzles were mostly impenetrable to my E3-addled brain.

And yet, the grounds offered enough interesting architecture–a hedge maze here, an abandoned foundry there–that I was happy to just poke around for a while. The fact that all of this happened in a quiet room, away from the show floor and devoid of over-attentive PR representatives, couldn’t have hurt. I’m still thinking about how I’ll nail those puzzles eventually.

PS4, PC and iOS / 2014

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