Rumor: Solo, Fett Up for Star Wars Anthology #2
The feud between Han Solo and the bounty hunter Boba Fett may finally be explored at length in the second Star Wars Anthology film.
Schmoes Know has a report on multiple rumors about the two taking center stage in the film. According to the site's source, the Anthology film is targeted to debut in 2018 to follow 2016's Star Wars: Rogue One spin-off. Iron Man 1 and 2 director John Favreau and X-Men: First Class director Matthew Vaughn are both said to be circling the project. The second Star Wars Anthology film saw its original director, Fantastic Four's Josh Trank, drop out last month.
Prison Break Could Be Returning to TV
Prison Break may be getting revived by FOX.
According to TVLine, the popular drama series starring Wentworth Miller and Dominic Purcell could be returning to television in the form of a limited-series revival spanning approximately twelve episodes, a la 24: Live Another Day. Both Miller and Purcell are expected to return if the series gets the greenlight.
Dominic Purcell and Wentworth Miller in Prison Break.
Godzilla Gains Japanese Citizenship
It's official: Godzilla is now a resident of Japan.
Specifically of Tokyo's Shinjuku neighborhood, where city officials have drawn up residency papers celebrating the giant lizard's citizenship. 5,000 copies of his residency papers have been printed and are being given to Godzilla fans on a first come, first served basis.
RocketNews reports his papers say the following:
Name: Godzilla
Address: Shinjuku-ku, Kabuki-cho, 1-19-1
Date of birth: April 9, 1954
Date of becoming a Shinjuku resident: April 9, 2015
The Future of the Marvel Universe Revealed in July
If you're eager to learn what shape the Marvel Universe will take after Secret Wars, you won't have much longer to wait. Today Marvel announced a free magazine called "All-New, All-Different Marvel Previews" that will offer readers their first glimpse of the stories and characters that will headline the Marvel U. this fall.
The magazine will be made available in comics shops on Wednesday, July 1, with a digital version to follow after. It's not clear what the actual contents of the magazine will be, but Marvel's press release teases, "Exciting teams, dynamic characters, deadly villains, dazzling creators and more will be revealed!"
Arrested Development Season 5 Coming Next Year
Arrested Development will return to Netflix in mid-2016, according to producer Brian Grazer.
Grazer explained the timeline on the Adam Carolla Show podcast (via TheWrap). Production is set to begin after January 1, and the new episodes would hit Netflix about four months after that.
The producer also recently revealed that the next season will be 17 episodes long. The previous Netflix season was 15 episodes.
“Netflix is determined to do more episodes, so we’re going to do more episodes,” Grazer said.
The Emmy-winning comedy ran from 2003-2006 on FOX, and earned a cult following that prompted Netflix to revive it in 2013. Scheduling conflicts led the season to focus on individual characters instead of a large ensemble, though the plan is said to try to return to the original format for Season 5.
Interloper Review
Developer Monogon Games describes Interloper as a real-time strategy game with five-minute matches, but I would call it an RTS for people who hate the genre. This quirky example features all of the catchy conquering, tactical thinking, and fast-paced combat of the average real-time strategy game without being burdened by the base building, resource management, and game duration that scare off some of the potential audience. Toss in puzzle-like maps, an unusual setting, and faintly surreal visuals and sound, and you have a pick-up-and-play RTS for the masses that even genre veterans can appreciate for its innovations and challenge.
Simplicity is Interloper’s greatest asset. This is a two-player game in which you battle the AI or an online human opponent on small and slightly-less-small maps that never feature more than a handful of key assets to claim. The main unit is a Sentinel, a big mama that looks like a manta ray or some kind of microscopic bug, depending on which of the three tribes you are controlling (the appearance of Sentinels and color are all that differentiate the factions). Your goal is to swim through the fluid-filled corridors of each map (which are colorful and cute here, but would probably be gooey and gross in reality), claiming domain as you go. After you pass, tunnels turn your faction’s color, reminding me of ʼ80s arcade classic Crush Roller. Taking 75 percent of a map results in an instant win, which isn’t particularly easy as the enemy Sentinel and his pals are doing the exact same thing as you.
Maps feature a small number of key control points that are claimed by Sentinels. You provide juice to unit-producing centers called Assemblers by connecting them to local Power Sources, at which point they begin to automatically crank out Drones. In keeping with the quasi-organic appearance of the game, these core units look like spermatozoa...or tadpoles, depending on how you look at these things. Drones can then be used as shock troops to attack enemies en masse, or sent over to the only other building, the seed pod-resembling Factory. Here, multiple Drones are turned into the game’s three other unit types. Defenders absorb three hits of damage, making them great guards. Snipers automatically blast enemies from a distance with a recharging shot. And Destroyers serve as assault tanks that can take three hits as well, while also regenerating over time.
Movement and combat are straightforward. Basic units block Sentinels. They can phase past them, but are powerless when phased and cannot materialize back in until they reach neutral or already conquered domain. Unfriendly and neutral terrain causes automatic damage to traveling units. So you can’t tank-rush enemies without first laying down some serious friendly color on maps. Unprotected Sources can be taken over by the Sentinel in just a few moments, but Assemblers and Factories are off-limits while connected to a Source. Battles are simple wars of attrition. Drones kill each other one-to-one, so en masse assaults are a matter of simple math. Same goes with the other specialized units, which all come with set numbers of hit points noted above.
Simplicity is Interloper’s greatest asset.
The action reads more complicated than it plays. Matches are incredibly likable, compelling affairs. They move quickly, but they aren’t rapid-fire challenges to your carpal tunnel like so many other real-time games. I always had time to think before moving. This is good, because sober second thought is paramount when capturing and protecting those oh-so-valuable and oh-so-vulnerable Sources while also covering all avenues of enemy assault. Maps have a puzzle or even a bit of a board-game vibe, due to their layout and those maze-like corridors of goo. What you conquer and when you conquer are big factors as to how the war plays out.
Despite Interloper’s simple structure and quick matches, there are a lot of RTS basics under the hood here. Taking too much territory at the start of matches is a big mistake, for example. Whenever I ventured too far into the map to grab one more Source or one more Assembler, the enemy Sentinel crept in behind me to take over assets before I could get Drones produced to protect them. It’s a quick game, but trying to go too fast and steamroll the enemy isn’t a good idea.
Smart unit deployment is another essential. Even the three specialty units offer a lot of tactical depth. I loved using Snipers, which can be brutally effective at preventing enemy attacks and blowing away Drones on their way to enemy Factories. Get a mass of Snipers in the right place--which isn’t always easy, as the enemy does this, too--and I could lock down maps in short order by setting up murderous choke points. Defenders were incredibly helpful in blocking enemy approach routes and guarding Sources. And Destroyers were perfect for late-game assaults that cleaned up large numbers of enemy Drones. I loved rolling them out in the end to obliterate the last remnants of my rival’s sperm army.
Enemy AI is generally excellent when playing solo, which features a campaign of sorts with an absolutely perfect series of tutorials along with skirmish. The AI can also be adjusted via multiple settings that up the general difficulty, add to aggression, and so forth. I was challenged on most maps by the default AI. I could quibble with some of the computer’s tactics: it would occasionally get bottled up early on, which led to almost instant destruction, but it never failed to move in on areas that I left unprotected. And it sure did beat me on a fairly regular basis. Multiplayer is something of a concern right now, however. Not many people are playing, making it tough to find a match. Since the single-player is limited when it comes to the number of maps, this could impact longevity. Still, for $10, you’re getting a lot of game here.
Sober second thought is paramount when capturing and protecting those oh-so-valuable and oh-so-vulnerable Sources.
The atmosphere is distinct. I was never sure if I was in some kind of parallel dimension, a microscopic world of bacteria, or a stoner’s daydream, but it worked. Everything is weird, but not too weird, and the aesthetics never interfere with gameplay. Colors nicely blend light and dark, as well, with everything getting brighter and brighter and even pulsing if you’re cruising to a win. Sound is as offbeat as the graphics. A techno score reminiscent of second-rate Tangerine Dream (yes, that’s a compliment) and brittle sound effects accompanying unit destruction adds an oddly fitting, yet oddly sterile, sci-fi mood.
Interloper distills the core elements of every good RTS and adds a little extra to put it over the top. No matter if you love or loathe traditional real-time strategy, the deep tactics and puzzle solving crammed into a nicely condensed package here come highly recommended.
Transformers Adds Female Writers Amid Calls for Diversity
The Transformers franchise's creative team has reportedly hired two female screenwriters just days after being criticized by some in the media for solely hiring white male screenwriters as members of its "brain trust."
Christina Hodson and Lindsey Beer will help create Transformers spinoffs and sequels under the supervision of Akiva Goldsman, reports Deadline.
A three-time Black List honoree, Hodson scripted the upcoming Naomi Watts film Shut In and her spec script The Eden Project was purchased by Sony.
Beer penned scripts for a Short Circuit reboot, the edgy comedy How To Nail An Alien, and a Wizard of Oz re-imagining for Warner Bros. Deadline adds that Beer "studied neuroscience and the intersection of technology and society at Stanford."
Documentary About Sony Hack Is in the Works
A new documentary investigating last year's high profile hack on Sony Pictures Entertainment is in the works.
THR reports the film will come from Jehane Noujaim and Karim Amer--the duo behind Netflix's Oscar-nominated documentary about the 2011 Egyptian Revolution, The Square. The new documentary will follow the cyberattack, putting forth alternative theories about the culprits and using it to look more broadly at cyber aggression.
“The Sony story is an important chapter in this larger issue,” Amer told THR. “The analysts and experts we speak to see it as the 9/11 of cyberattacks, and the implications will be felt for years to come.”
GameFly Announces New Game Streaming Platform
GameFly has a new on-demand game streaming service, GameFly Streaming.
GameFly recently purchased Playcast and is using their technology to power GameFly Streaming, which is available on the Fire TV app store starting today.
GameFly Streaming offers games in six separate packs which cater to different genres or tastes, according to a release on GameFly's website.
For example, the Action Pack comes with F.E.A.R. 3, Operation Flashpoint: Dragon Rising, Red Faction: Armageddon, Red Faction: Guerilla, Mafia II, Sleeping Dogs and Hitman (though the site doesn't specify which Hitman title in the series is available).
Splatoon Review
It's no longer strange to see the concept of genres challenged by unusual games, but Splatoon is a special case. It's a lighthearted, sugar-coated game that's landed on the back of today's dark and gritty shooters (Battlefield, Call of Duty, Wolfenstein, and Titanfall come to mind). Splatoon is special because it redefines the rules of shooters, stripping away realistic violence and aggression in the name of innocent fun. More than that, its rules make you look at your environment and opponents in new ways. There's so much to love about Splatoon that it's stripped-down multiplayer support systems are forgivable, because as long as I'm playing in Splatoon's world, I'm a happy camper.
Splatoon is the perfect game for people who want the experience of playing a shooter without all of the killing and such. Because it lacks mainstays of the shooter genre, people question its identity. That speaks volumes about how bog-standard shooters have become in some respects, further highlighting why Splatoon is so refreshing. It's joyful atmosphere is uplifting, and it plays like a dream, with a unique movement system that permeates every moment and match. Splatoon isn't another hardened shooter, and that's a good thing, especially when the risk pays off as well as it has here.
Splatoon's locale is the hip and colorful city of Inkopolis, which is run by hybrid beings known as Inklings. These guys and gals can take the form of either a squid or a human on command, and to them, ink is everything. Inklings arm themselves for work and play not with guns that shoot bullets, but with weapons like squirt guns and paint rollers. These are used to paint the environment and knock out opponents during multiplayer matches. Ink splotches are also great for swimming and hiding, granting you much needed speed and stealth during hectic matches. Need more ammo? Turn into a squid and take a dip to watch your tank on your back fill up.
Splatoon's ink-based mechanics are the crux of what makes playing it so great, and running on foot feels stale once you get used to dipping in and out of ink in quick succession, partially because it's empowering and snappy, but also because it's such an effective tactic. Transformations occur quickly, allowing you to react to an impending threat or a chance at victory in a flash. Matches typically begin with teams laying down plots and strips of ink to swim through and hide in, but by the time things heat up, it's a tie-dyed mess of opportunities with people sinking into ink, jumping to safety, then reappearing when you least expect it with their sights trained on your location. No worries, because if you're quick enough, you can dip into ink and slink away into a corner, too, only to re-emerge when your opponent comes looking for you. It's a cycle that plays out dozens of times in a match, and when the timer ends, you get the itch to jump back in as soon as you can.
Multiplayer is Splatoon's bread and butter, but there's trouble afoot in Inkopolis and your efforts are needed outside of the arena, too. Inkopolis's source of power, the Great Zap Fish, is being held captive by the invading Octarians. You guessed it: Octarians are octopus-human hybrids. There are roughly thirty stages between you and the Great Zap Fish, which sounds like a lot, but it doesn't take very long to get the job done because most levels are on the short side. Still, the mix of combat and platforming is an enjoyable diversion that feels very different than multiplayer, with unique obstacles and challenges in addition to five bosses that fit nicely within Nintendo's repertoire of quirky baddies. The campaign at large is also a great way to familiarize yourself with the unusual GamePad controls. Though you can disable the GamePad's motion detection and stick to moving your character and the camera with analog sticks alone, using motion detection to adjust the camera ends up being really helpful, and it only takes a few matches before doing so becomes second nature.
The unique touches in the campaign are fun, but the pacing and variety of challenges leaves you hungry for more. Sure, you're still playing with and discovering new ways to move and shoot, which is rewarding in and of itself, but the chances are that you'll move on once you've fixed Inkopolis. If you pick up some of Nintendo's Splatoon amiibos, you can use them to unlock special challenges that will net you new gear, but you're essentially playing the same levels over again with unique constraints. These stages are fun, but being asked to pick up real world toys and to replay levels is a big ask, and it's too bad, because the gear locked away behind amiibo challenges is the most interesting looking gear in the game.
Splatoon is ultimately about multiplayer, where you are required to begin your playtime in Turf Wars. The goal is to paint as much of the map in your team's ink before a three minute timer runs out. Inking new ground, stealing coverage from your enemies, and knocking out opponents makes these matches fun, and because there are so many ways to make a difference, rather than by being a sharpshooter alone, Splatoon rewards you with a constant flow of small wins.
As long as I'm playing in Splatoon's world, I'm a happy camper.
Once you hit level 10 you can dive into ranked matches, which currently feature one new match type: Splat Zones. Two teams fight for control over a small area within the middle of a map, and whichever team controls the area by covering it in ink for 100 seconds is declared the winner. Unlike Turf War matches, where everyone earns points to level up and purchase gear, in ranked battles, to the winners only go the spoils. Ranking is determined by your individual performance, represented by a grade like A or C-, for example. These grades are used to populate teams during ranked matches, which create a much more balanced affair when compared to the anything goes arrangement of levels and skill in Turf Wars.
Given that Splatoon's multiplayer is exclusively team-based, it's frustrating that it's impossible to strategize as a team. Voice chat is non-existent, likely as a measure to defend against casual harassment from other players. Unfortunately, this is an excuse that harms people who don't share Nintendo's concerns. A quick glance at the GamePad gives you a bird's eye view of the map, including the distribution of ink and the location of your teammates, but you can't easily discern where your enemies are and what they're doing. There's an item you can place that will highlight their location for a time, but there's no way of guaranteeing that someone on your team will come equipped with it when they head into battle because teams in Turf Wars are randomly assigned, and you never have a chance to see who's packing what items. Because entire loadouts (primary weapons, secondary weapons, and a special weapon) are determined by the primary weapon you choose before heading into a lobby, and teams are assigned randomly, you may end up on a team where every player has the same loadout. In a situation where your team is homogenous, your fate is practically sealed from the get go.
You earn points during matches that you can spend on new headgear, guns, footwear, and shirts. These points also determine how fast you level up, which unlocks new gear that you can purchase in the Inkopolis's shops. Gear comes with bonuses that boost things such as speed, power, and defense, so while you may want to look as fresh as possible, it's important to keep your eye on what that new shirt actually does besides looking cool. The outfits in Splatoon are evidence of Nintendo's attempt to capture the essence of streetwear, with beanies and Chuck Taylor hightops available to accentuate Inklings, but it feels heavy-handed at times, especially with characters that spout nautical puns woven into lines that could have come from the script of a teen Disney show.
Between Turf Wars, Splat Zones, and unlocking gear, not to mention the single player content, there's a lot to chew on in Splatoon, yet it still feels a tad light. Don't get me wrong: Splatoon is so fun to play that you rarely care. I want more single player content to explore and control over multiplayer so that I can craft specific types of multiplayer matches, rather than taking whatever comes my way. I want more Splatoon because I like it, but also because there's not enough variety in the things you can do over a long period of time.
The same could be said of the selection of maps. There are only five, and to compound the issue, Splatoon only lets you play one of three maps for the better part of a day before a new lot are selected, and you don't even get to choose which map to play on. This seems to be in the name of stress free matchmaking, where constraints would otherwise make it more challenging to find a compatible match. When only a couple of the five maps in Splatoon truly stand out, a little control over which you get to play on would go a long to way ensure that you can play in an environment that you actually like.
Nintendo's foray into shooter territory stumbles on occasion, but when I'm swimming through ink, covering environments in neon, and drinking in the quirky city of Inkopolis, I'm far more aware of how unique its mechanics are, and how enjoyable it is to play one match after another. In these moments--which is pretty much anytime I'm playing Splatoon--I forget about the lacking multiplayer features. Online matches are the core of the game, so it may seem weird that it's so easy to overlook things like missing voice chat, but I would be a fool to let missing features get in the way of the readily available joy I feel from simply swimming and shooting.
I've always had a love/hate relationship with shooters, not because I can't handle gritty, war torn worlds and battle cries, but because I grow tired of them after the tenth game in a row. Splatoon is the antithesis to the modern shooter, but it primarily deserves recognition for what it is, not what it isn't. It's a wonderful game with charm and inventive ideas that work and pave the way for new experiences in an otherwise stale category of games.