Showing posts with label project. Show all posts
Showing posts with label project. Show all posts

Thursday, August 23, 2012

Revisiting Resident Evil 3: Nemesis

Resident Evil 6's October release date is now only a month and a half away, so we're ramping up our project to replay all of the company's older efforts in storyline order. We first looked back at Resident Evil Zero in April, and in May we replayed the original 1996 adventure via its 2002 GameCube remake. Last month, we returned to Raccoon City by revisiting Resident Evil 2. Now it's time for Resident Evil 3: Nemesis.

Meeting your Worst Nightmare

As the first and only numbered Resident Evil sequel to have a subtitle attached to its name, everyone knew going into this third PlayStation adventure that something about "Nemesis" was going to be critically important to the game. Capcom made it even more obvious by placing the hulking, nightmare-inducing beast front and center on the game's packaging – the Nemesis was your enemy. Your singular foe. The villain so overwhelming that the entire duration of this latest RE title would be spent trying to take him down – or, more likely, just running away in abject terror.

It was a defining design decision that Capcom made, and it worked beautifully. Whereas the terror in the first two Resident Evil games was mostly centered on the hundreds of zombies lurking around every corner of the Mansion and the Raccoon City streets, Resident Evil 3 totally refocused its fright factor by building up this one, relentless, nearly omnipresent creature. The Nemesis was the most powerful zombie ever – he just couldn't be killed. And even worse than that immortality was the fact that he broke so many rules.

Survival horror games are meant to be scary, of course, and players know to prepare for shocks and surprises going in – but there's still a kind of comfort to be had in the knowledge of how most of these enemies are going to behave. The Nemesis, though, took even those small comforts away. He could run just as fast as your character, which broke the rule of zombies being slow and giving you time to react. He could assault you from afar with a rocket launcher, which broke the rule of zombies only being able to hurt you in close quarters. Worst of all, he could follow you through doors. That broken rule was the hardest of all to handle. We never knew how much we relied on the simple technical boundaries of loading screens protecting us from attacks until that first time we leapt through a nearby door, tried to catch our breath, and then saw the Nemesis come charging straight through to continue his hunt for "STAAAAAAARRRRRSSSSS!"

Frying Pan, or Fire?

Run-ins with the iconically scary Nemesis happened continuously throughout Resident Evil 3, as just when you thought you left him behind he'd pop up again at the most inconvenient time, in the most inconvenient place, to once again try to eat your brain. Capcom took the opportunity of these unique encounters to do something new with gameplay. You wouldn't just walk into a room and find the Nemesis sitting around waiting to battle you again – instead, you almost always got a choice of how to react to his appearances.

Called the "Live Selection" system, the game would briefly freeze and flash in black and white at these critical moments, then give you a quick on-screen choice between two alternative actions. Would you rather stand and fight, or turn and run? Would you like to go left, or go right? Memories of old Choose Your Own Adventure books and even the classic Dragon's Lair arcade game might have occurred to some players, except none of us really had the time to sit and think – because if you didn't pick an option within just a few seconds, the game would decide that your indecisiveness must be punished. Usually by Jill getting seriously hurt, or even instantly killed.

The RE series has never again used this specific type of reaction mechanic, but from a certain perspective, it could be seen as a precursor to the fast-button-input Quick Time Events that began to appear later on in Resident Evil 4.

The Mercenaries

Another way Resident Evil 3 paved the way for its subsequent sequels was with its introduction of a new minigame called "The Mercenaries - Operation: Mad Jackal." Fans of the franchise will recognize the name, as a shortened version – just "The Mercenaries" – was used for minigames in both Resident Evil 4 and 5. It even got spun-off into its own standalone retail release with last year's Resident Evil: The Mercenaries 3D for Nintendo's 3DS.

Those later versions and their focus on taking down tons of zombies to rack up high scores have little in common with RE3's original version, though, as Operation: Mad Jackal was more of a time attack game. You'd pick to play as one of three commando characters from the game's main storyline – Carlos, Mikhail or Nicholai – and try to make it from one starting point to an end goal in another part of Raccoon City in just two minutes. Running straight there was impossible, though – you'd always run out of time. So along the way you'd have to take down zombies and assist uninfected survivors to score time bonuses, extending the countdown and giving you enough extra seconds to make it to the finish line.

Gameplay Refinements

As the third and final Resident Evil title for the original PlayStation, RE3 represented the pinnacle of the series' design on its originating platform. Its foundations were firmly the same as RE1 and 2 – the same tank-like control scheme, pre-rendered backgrounds and all the rest of the series' hallmarks were found here once again. But lots of little tweaks and upgrades made the cut for this final PSone outing.

You could activate a new dodge maneuver to avoid zombie attacks, using proper timing to sidestep their hungry lunges and save yourself the trouble of having to use up quite so many Green Herbs. You could walk up and down staircases without needing to press an action button to do so – an improvement that greatly benefited the game's overall flow. And, crucially, you could now execute fast, 180-degree turns on the spot. Capcom had actually first introduced that little move in the RE-esque Dino Crisis, but it proved to be truly invaluable with the Nemesis hot on your heels through Raccoon City.

Oh, and then there was the gunpowder. For some reason, Resident Evil 3 went nuts for gunpowder. You didn't really upgrade your weapons much in this one – instead you'd find all sorts of gunpowder containers all over the city and you'd mix them together to create better and better ammunition. It was another unique addition to the series, but also another one that hasn't ever been used again.

The Impact of Nemesis

That's the thing about Resident Evil 3: Nemesis – it's arguably the most unique and individual of all the numbered RE games. We've tried to pin down the potential impact of each installment on the new RE6 with each of these articles, but with Nemesis it's a question mark. So many of its elements seem destined to stay locked into just this one game – the focus on a singular foe, the "Live Selection" choices, the gunpowder mixing. If anything, the thing that will probably carry forward into 6 will be the ridiculously impractical costumes for our playable heroes – have you seen the tube top and mini-skirt they stuck Jill in for this game?

If you want to go back and experience Nemesis for yourself before RE6 arrives, you've got just about the same array of options as you did for RE2. There's the original PlayStation release from 1999. Then there's a series of ports to PC, to the Dreamcast and to the GameCube – though the Cube version didn't exactly find many fans thanks to its inflated pricetag back in 2003. PlayStation Network's also got it up for download, for all you PS3 and PSP owners out there. But we'll end by reitirating the same sentiment from last time – Capcom, we'd love a modern remake of this adventure at some point. Surely you're not too scared to bring back the Nemesis, right?

Lucas M. Thomas still plays Resident Evil games with the lights on. You're not going to change his mind about that. Join him on his IGN blog and Twitter.


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Peter Molyneux's Plans Thwarted by NASA

The first game created by Peter Molyneux since his departure from Lionhead is apparently undergoing a name-change thanks to NASA.

The project, called Curiosity, is being developed by Molyneux's new studio 22 Cans and was recently delayed until next month.

Due to NASA and the Martians we are wondering what we should officially name our first experiment Curiosity...

But it appears Curiosity will never be released, at least not titled as it is, due to the Washington-based NASA being uncomfortable with the game sharing a name with its Mars Rover.

Taking to his Twitter account, Molyneux asked fans for help, writing "Humm there is a problem the the name curiosity, we can't use it because of NASA. I wonder what one word would sum up curiosity:the cube."

The news appeared to be verified when the 22 Cans account posted a similar question, sharing "Due to NASA and the Martians we are wondering what we should officially name our first experiment Curiosity..."

There's already a wealth of suggestions out there, including Cuberosity, but there's still time to share your ideas.

Due out next month, Curiosity will launch on PC, iOS and Android platforms. The game is planned as a social experiment which revolves around breaking apart a giant black cube with the help of thousands of gamers worldwide.

Luke Karmali is IGN's UK Editorial Assistant and would quite like Molyneux to knuckle down on Black & White 3. You too can revel in mediocrity by following him on IGN and on Twitter.


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Monday, August 20, 2012

New Michael J. Fox Sitcom Coming to NBC

NBC has just signed a deal to produce a new single-camera comedy that will bring Michael J. Fox back to weekly TV. While the project was sought after by FOX, ABC and CBS (who came the closest among the other contenders), it was Peacock chief Robert Greenblatt who eventually won over Fox, who will produce and star.

As Vulture reports, the big selling point from Greenblatt was that he gave the project a full 22-episode order -- Not many shows get an order to go to series before they shoot a pilot, and 22-episodes is an especially rare upfront commitment. Current plans are to film the Sony Pictures Television series in New York, which also happens to be where Fox worked on Spin City. The half-hour show will be a family comedy loosely inspired by Fox's own life, presumably incorporating his real-life battle with Parkinson's disease.

While Fox's project is now targeted for fall 2013, it's likely that the pilot will be shot well in advance of that, taking advantage of the longer lead time.

The still untitled comedy is created by Cougar Town writer Sam Laybourne and the pilot will be directed by Will Gluck (Easy A).

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love on Twitter and IGN.


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Paramount Saves Adam McKay's The Boys

Director Adam McKay's feature adaptation of The Boys may have been dropped by Columbia, but the Anchorman filmmaker confirms that the project has found a new home at Paramount.

When a fan of the Garth Ennis comic book expressed his dismay via Twitter that the film wasn't getting made, McKay responded with, "Actually Paramount picked it up and we're still developing."

The Boys centers on a group of CIA agents who are tasked with keeping any reckless superheroes in line.

Via Latino Review


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Wednesday, August 8, 2012

The Dinosaur Project Review

It’s probably bad to want the protagonist to die throughout a movie, but such is the grating nature of the main character in The Dinosaur Project, that it’s impossible to not wish ill upon him.

And that’s just one of the many problems with this action-adventure that wants to be The Blair Witch Project meets Jurassic Park, but ends up playing more like an over-long and undercooked episode of Primeval.

The first issue is that it’s a ‘found footage’ movie, proceedings kicking off with a pair of Congolese fisherman discovering a rucksack filled with tapes and hard drives that document a British Cryptozoological Society jungle expedition.

Their mission? To track down ‘Mokele Mbembe’ – Africa’s answer to the Loch Ness Monster, and a creature thought to be descended from the dinosaurs.

But the found footage has to be shot before it's discovered, so the first 20 minutes of the film are spent contriving ways for the cameras to make it onto the journey and then keep rolling in the face of danger and death.

So a TV crew is invited to join renowned explorer Jonathan Marchant – and his slightly less renowned adventurer pal Charlie Rutherford – on their African odyssey, and encouraged to shoot whatever they witness.

But wouldn’t you know it, Jonathan’s camera-loving son Luke has also stowed away on the expedition, bringing with him state-of-the-art filming equipment that would put David Attenborough’s production team to shame.

So far, so contrived, and no sooner has the increasingly annoying Luke attached tiny cameras to the team’s apparel when their plane is attacked by a flock of flying creatures that bear more than a passing resemblance to pterodactyls.

They crash-land in the middle of the jungle, and before you can say Brassic Park, the expedition is being hunted down by large, vicious bat-like creatures that behave like dinosaur vampires, attacking the neck as they devour their prey.

Meanwhile Justin Bieb-a-like Luke has now taken centre stage, grabbing his camera to shoot a series of video diaries in which he moans about his Dad not loving him enough.

And that’s about it in terms of story, the unconvincing father-son soap opera playing alongside the crew dropping like flies. Along the way one of their number turns nasty to prove that we are the true monsters, and Luke befriends a dino-cub called Crypto who may be the most annoying dinosaur sidekick since this one.

The creatures themselves predictably disappointing, the effects created by the same company that crafted the BBC’s Planet Dinosaur and failing to ever rise above TV quality; the reveal of Mokele Mbembe particularly underwhelming.

But they are a damn-site better than the performances, with Matt Kane appalling as the film’s supposed hero Luke, and Peter Brooke equally abysmal as forgotten man Charlie. Only Richard Dillane – playing action-man Richard Marchant – comes out of it with any dignity, doing a fair impression of a poor man’s Indiana Jones throughout.

Writer-director Sid Bennett does manage to eek moments of tension out of the premise, and the vast African vistas glimpsed throughout are a joy to behold, but they aren’t enough to rescue The Dinosaur Project, a found footage flick that disappoints at just about every turn, and makes you wish the tapes had remained lost.


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Friday, August 3, 2012

Robert Bowling Talks Human Element and Ouya

Ex-Infinity Ward creative strategist Robert Bowling has spoken to Eurogamer about his next project, Human Element.

It will be the first project developed by his new studio Robotoki, and is slated for release on next-gen consoles sometime in 2015. But over the next few years, Bowling plans to release a series of episodic prequels exclusively on Ouya.

Human Element is a first-person game set in a zombie apocalypse. The Ouya prequels, however, will be set 35 years before the next-gen title and will tell the story of how the world came to an brain-eating end.

Bowling said the console's open platform "allows us the flexibility and the freedom creatively to use it as a testbed for all these rapidly prototyped mechanic and gameplay experiences that maybe are too costly and risky to dedicate a full priority list to on another platform."

The prequels will offer a range of different experiences and a variety of gameplay mechanics. "With each episode I really want to focus the scope around either a specific mechanic or an experience that we're trying to deliver," said Bowling.

"Say episode one could be focused on the fortification aspect of survival; finding your location, finding supplies, building fortifications to secure it, building alarm systems within it so you know when it's breached... nailing what makes that fun and exciting and thrilling in a survival scenario. And then once we do that in episode one, episode two could be completely different.

"Episode two could be focused on going out in this world, dealing with that human element much more. Dealing with other survivors, dealing with the moral choices you need to make when you come across scenarios, knowing that you could always fall back to that safe haven you built in the first episode."

Have you had enough of zombies? And what do you think of the decision to use Ouya as a platform to test new ideas? Let us know in the comments below.

Daniel is IGN's UK Games Writer. You can be part of the world's worst cult by following him on IGN and Twitter.


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