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Yearly Archives: 2020

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Joker and Dragon Quest 11’s Hero amiibo to Be Released in October 2020

Nintendo has announced that Persona 5's Joker and Dragon Quest 11's Hero Super Smash Bros. Ultimate amiibo will both be available on October 2, 2020. Nintendo shared a quick video of the new amiibo, giving fans of these two DLC fighters a good look at the figures they can purchase later this year. The Joker and Hero amiibo were both announced during the reveal presentation for Min Min from ARMS last month. Min Min is available now and, in our review of the latest fighter, we said "Super Smash Bros. Ultimate's Latest DLC character Min Min is one part Dhalsim, one part Pokemon Trainer, and one of the more exciting (if tricky to wield) concepts for a Smash character yet." In our review of Joker as a fighter, we said "As a fighter, Joker’s moves translate extremely well into the realm of Smash Bros., between the sharp red accents flying alongside his knife’s slash and his cinematic final smash that might be one of the most entertaining finishers yet – and winning the match with the All-Out Attack is just icing on the cake." [ignvideo url="https://www.ign.com/videos/2019/04/18/super-smash-bros-ultimate-joker-challenger-pack-dlc-review"] In our review of Dragon Quest 11's Hero as a fighter, we said "Hero creates an entirely new archetype in a game that already features 74 unique characters (76 including Pokemon Trainers’ individual Pokemon), one that’s heavily influenced by RNG and a player’s ability to quickly identify the best of four options presented in a menu in the heat of battle, and that’s kind of astounding." [ignvideo url="https://www.ign.com/videos/2019/08/01/super-smash-bros-ultimate-hero-dlc-review"] [poilib element="accentDivider"] Have a tip for us? Want to discuss a possible story? Please send an email to newstips@ign.com. Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.
Posted in Uncategorized

Joker and Dragon Quest 11’s Hero amiibo to Be Released in October 2020

Nintendo has announced that Persona 5's Joker and Dragon Quest 11's Hero Super Smash Bros. Ultimate amiibo will both be available on October 2, 2020. Nintendo shared a quick video of the new amiibo, giving fans of these two DLC fighters a good look at the figures they can purchase later this year. The Joker and Hero amiibo were both announced during the reveal presentation for Min Min from ARMS last month. Min Min is available now and, in our review of the latest fighter, we said "Super Smash Bros. Ultimate's Latest DLC character Min Min is one part Dhalsim, one part Pokemon Trainer, and one of the more exciting (if tricky to wield) concepts for a Smash character yet." In our review of Joker as a fighter, we said "As a fighter, Joker’s moves translate extremely well into the realm of Smash Bros., between the sharp red accents flying alongside his knife’s slash and his cinematic final smash that might be one of the most entertaining finishers yet – and winning the match with the All-Out Attack is just icing on the cake." [ignvideo url="https://www.ign.com/videos/2019/04/18/super-smash-bros-ultimate-joker-challenger-pack-dlc-review"] In our review of Dragon Quest 11's Hero as a fighter, we said "Hero creates an entirely new archetype in a game that already features 74 unique characters (76 including Pokemon Trainers’ individual Pokemon), one that’s heavily influenced by RNG and a player’s ability to quickly identify the best of four options presented in a menu in the heat of battle, and that’s kind of astounding." [ignvideo url="https://www.ign.com/videos/2019/08/01/super-smash-bros-ultimate-hero-dlc-review"] [poilib element="accentDivider"] Have a tip for us? Want to discuss a possible story? Please send an email to newstips@ign.com. Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.
Posted in Uncategorized

Matrix Cinematographer: “I Want to Dig Stanley Kubrick Up and Kill Him”

While Stanley Kubrick may not have been directly involved in their making, the cinematographer of The Matrix Reloaded and The Matrix Revolutions blames the late filmmaking legend for why making those sequels proved "sort of torture" to make -- and for the diminished quality of the films themselves. Appearing on Oscar-winning cinematographer Roger Deakins' podcast Team Deakins, Matrix sequels cinematographer Bill Pope explained how Stanley Kubrick influenced the films' directors, the Wachowskis, which in turn made for a grueling back-to-back production for both cast and crew. "Everything that was good about the first experience was not good about the last two. We weren’t free anymore. People were looking at you. There was a lot of pressure," Pope told Deakins (via Indiewire). Pope confessed, "In my heart, I didn’t like them. I felt we should be going in another direction. There was a lot of friction and a lot of personal problems, and it showed up on screen, to be honest with you. It was not my most elevated moment, nor was it anyone else’s." [ignvideo url="https://www.ign.com/videos/2019/03/28/the-matrix-trilogy-in-six-minutes"] Pope lays part of the blame for the arduous shoot -- and how it translated to less than great work up on the screen -- on a book penned by Kubrick, the director of The Shining and 2001, that influenced the Wachowskis' approach to working with actors. "The Wachowskis had read this damn book by Stanley Kubrick that said, “Actors don’t do natural performances until you wear them out.” So let’s go to take 90!," Pope said. "I want to dig Stanley Kubrick up and kill him." As /Film points out, Kubrick was notorious for doing dozens of takes, and Shining actress Shelley Duvall made no secret of the hell Kubrick put her through on set. The Matrix sequels shot back-to-back over 276 days, a punishing challenge even without directors' embracing Kubrickian levels of exhaustive meticulousness. Bill Pope sees such a long shoot as ultimately working against the quality of the films, citing Peter Jackson's Hobbit trilogy as another example. “There is something about making a shoot that long, 276 shoot days, that is mind numbing and soul numbing and it numbs the movie,” Pope told Deakins. “You think about The Hobbit, where they [shot] one, two, and three, and the movies are just numbing. In the books, you don’t feel that because you pick it up and put it down. In a movie shoot, it’s too long. There’s a limit from what you can take in.” [widget path="global/article/imagegallery" parameters="albumSlug=the-most-disappointing-third-movies-in-trilogies&captions=true"] For all his grievances with the making of the sequels and feeling like the films themselves suffered because of the long shoot, Pope recently transferred The Matrix Reloaded and The Matrix Revolutions to 4K for Warner Bros.' archives and told Deakins, "I wrote the Wachowskis and Keanu and Carrie Ann that we did a good job [on the sequels], we should be proud of them.” The Matrix 4 recently resumed production in Germany after the coronavirus pandemic halted production in March. Bill Pope is not the cinematographer on it, with Braveheart's John Toll serving as director of photography this time around.
Posted in Uncategorized

Matrix Cinematographer: “I Want to Dig Stanley Kubrick Up and Kill Him”

While Stanley Kubrick may not have been directly involved in their making, the cinematographer of The Matrix Reloaded and The Matrix Revolutions blames the late filmmaking legend for why making those sequels proved "sort of torture" to make -- and for the diminished quality of the films themselves. Appearing on Oscar-winning cinematographer Roger Deakins' podcast Team Deakins, Matrix sequels cinematographer Bill Pope explained how Stanley Kubrick influenced the films' directors, the Wachowskis, which in turn made for a grueling back-to-back production for both cast and crew. "Everything that was good about the first experience was not good about the last two. We weren’t free anymore. People were looking at you. There was a lot of pressure," Pope told Deakins (via Indiewire). Pope confessed, "In my heart, I didn’t like them. I felt we should be going in another direction. There was a lot of friction and a lot of personal problems, and it showed up on screen, to be honest with you. It was not my most elevated moment, nor was it anyone else’s." [ignvideo url="https://www.ign.com/videos/2019/03/28/the-matrix-trilogy-in-six-minutes"] Pope lays part of the blame for the arduous shoot -- and how it translated to less than great work up on the screen -- on a book penned by Kubrick, the director of The Shining and 2001, that influenced the Wachowskis' approach to working with actors. "The Wachowskis had read this damn book by Stanley Kubrick that said, “Actors don’t do natural performances until you wear them out.” So let’s go to take 90!," Pope said. "I want to dig Stanley Kubrick up and kill him." As /Film points out, Kubrick was notorious for doing dozens of takes, and Shining actress Shelley Duvall made no secret of the hell Kubrick put her through on set. The Matrix sequels shot back-to-back over 276 days, a punishing challenge even without directors' embracing Kubrickian levels of exhaustive meticulousness. Bill Pope sees such a long shoot as ultimately working against the quality of the films, citing Peter Jackson's Hobbit trilogy as another example. “There is something about making a shoot that long, 276 shoot days, that is mind numbing and soul numbing and it numbs the movie,” Pope told Deakins. “You think about The Hobbit, where they [shot] one, two, and three, and the movies are just numbing. In the books, you don’t feel that because you pick it up and put it down. In a movie shoot, it’s too long. There’s a limit from what you can take in.” [widget path="global/article/imagegallery" parameters="albumSlug=the-most-disappointing-third-movies-in-trilogies&captions=true"] For all his grievances with the making of the sequels and feeling like the films themselves suffered because of the long shoot, Pope recently transferred The Matrix Reloaded and The Matrix Revolutions to 4K for Warner Bros.' archives and told Deakins, "I wrote the Wachowskis and Keanu and Carrie Ann that we did a good job [on the sequels], we should be proud of them.” The Matrix 4 recently resumed production in Germany after the coronavirus pandemic halted production in March. Bill Pope is not the cinematographer on it, with Braveheart's John Toll serving as director of photography this time around.
Posted in Uncategorized

Dragon’s Dogma Netflix Anime Release Date, First Art Revealed

Netflix’s Dragon’s Dogma anime adaptation will be coming to the streaming service on September 17. Netflix also revealed the first poster for the anime adaptation which serves as a first look at the art style for the series. Netflix announced a new anime adaptation of Dragon’s Dogma back in 2019. It’s produced as a partnership between Anima, Sublimation, and David Production and is based on the 2012 action-RPG developed by Capcom. [ignvideo url="https://www.ign.com/videos/2016/01/16/dragons-dogma-dark-arisen-in-4k"] At the time of the announcement, Netflix said the Dragon’s Dogma anime will follow “a man’s journey seeking revenge on a dragon who stole his heart. ON his way, the man is brought back to life as an ‘Arisen’. An action-adventure about a man challenged by demons who represent the seven deadly sins of humans.” The poster conveniently shows off all three elements of the synopsis: dragon, man, man’s heart. Seems simple enough. Netflix previously found considerable success by adapting Konami’s Castlevania series into an anime with the help of producer Adi Shankar. Shankar is now developing several more video game adaptations for Netflix including ones for Hyper Light Drifter, Assassin’s Creed, and Devil May Cry. You can check out IGN’s review of Dragon’s Dogma: Dark Arisen, which was recently released on the Nintendo Switch. [poilib element="accentDivider"] Matt T.M. Kim is a reporter for IGN.
Posted in Uncategorized

Dragon’s Dogma Netflix Anime Release Date, First Art Revealed

Netflix’s Dragon’s Dogma anime adaptation will be coming to the streaming service on September 17. Netflix also revealed the first poster for the anime adaptation which serves as a first look at the art style for the series. Netflix announced a new anime adaptation of Dragon’s Dogma back in 2019. It’s produced as a partnership between Anima, Sublimation, and David Production and is based on the 2012 action-RPG developed by Capcom. [ignvideo url="https://www.ign.com/videos/2016/01/16/dragons-dogma-dark-arisen-in-4k"] At the time of the announcement, Netflix said the Dragon’s Dogma anime will follow “a man’s journey seeking revenge on a dragon who stole his heart. ON his way, the man is brought back to life as an ‘Arisen’. An action-adventure about a man challenged by demons who represent the seven deadly sins of humans.” The poster conveniently shows off all three elements of the synopsis: dragon, man, man’s heart. Seems simple enough. Netflix previously found considerable success by adapting Konami’s Castlevania series into an anime with the help of producer Adi Shankar. Shankar is now developing several more video game adaptations for Netflix including ones for Hyper Light Drifter, Assassin’s Creed, and Devil May Cry. You can check out IGN’s review of Dragon’s Dogma: Dark Arisen, which was recently released on the Nintendo Switch. [poilib element="accentDivider"] Matt T.M. Kim is a reporter for IGN.
Posted in Uncategorized

Call of Duty: Modern Warfare Renames Controversial ‘Border War’ Skin

The new Call of Duty: Modern Warfare and Warzone patch adds some new changes, including a name change for the controversial ‘Border War’ skin in D-Day. The skin has been renamed to ‘Home on the Range’ and the in-game description has been revised accordingly. The original Border War skin was criticized for its anti-immigration connotations and originally had the description “show them the error of their ways and make them pay with D-Day’s Border War operator skin.” The new description has been changed to “play along with the deer and the antelope with the Home on the Range D-Day operator skin.” Aside from the name and description change, the skin remains the same. The rest of the patch was dedicated to bug fixes and closing an exploit where players could pick up weapons they dropped before the infil sequence. [ignvideo url="https://www.ign.com/videos/2020/03/23/call-of-duty-warzone-review"] In recent months, Activision and Infinity Ward announced redoubled efforts to remove racist names from the game’s online multiplayer lobbies. The studio also removed the OK hand gesture due to its recent association with white supremacy. For more, check out IGN’s Call of Duty: Warzone review and guide. [poilib element="accentDivider"] Matt T.M. Kim is a reporter for IGN.
Posted in Uncategorized

Call of Duty: Modern Warfare Renames Controversial ‘Border War’ Skin

The new Call of Duty: Modern Warfare and Warzone patch adds some new changes, including a name change for the controversial ‘Border War’ skin in D-Day. The skin has been renamed to ‘Home on the Range’ and the in-game description has been revised accordingly. The original Border War skin was criticized for its anti-immigration connotations and originally had the description “show them the error of their ways and make them pay with D-Day’s Border War operator skin.” The new description has been changed to “play along with the deer and the antelope with the Home on the Range D-Day operator skin.” Aside from the name and description change, the skin remains the same. The rest of the patch was dedicated to bug fixes and closing an exploit where players could pick up weapons they dropped before the infil sequence. [ignvideo url="https://www.ign.com/videos/2020/03/23/call-of-duty-warzone-review"] In recent months, Activision and Infinity Ward announced redoubled efforts to remove racist names from the game’s online multiplayer lobbies. The studio also removed the OK hand gesture due to its recent association with white supremacy. For more, check out IGN’s Call of Duty: Warzone review and guide. [poilib element="accentDivider"] Matt T.M. Kim is a reporter for IGN.
Posted in Uncategorized

Superhot: Mind Control Delete Review – Hack ‘N Slash

You gotta respect a game that tells you exactly what it is upfront. Within minutes of starting Superhot: Mind Control Delete, you're told, in those now infamous subliminal text cards that pop up from time to time in the previous games, that yes, this game will give you more. No story. No closure. No long-winded explanation of what happened in the last two games. Just more senseless shooting, and then it'll be over. And to Superhot Team's credit, they deliver on their promises. This is, definitely, a lot more Superhot. But it's also a few other things that aren't nearly as welcome.

Mind Control Delete is still fundamentally following the same mantra as the other two games: Time Moves When You Do. It's still a first-person shooter that places you in sparse, stark white, and self-contained little killzones, against a small group of keen-to-kill goons made out of, seemingly, fragile red glass. Your job is to John Wick your way out of whatever wild scenario you've been placed in, using objects in your environment to your advantage. There are guns, but with very limited ammo. So, when you don't have a gun, grab a sword. If you don't have a sword, grab a knife. If you don't have a knife, grab a book, a pen, or a teacup. Even with a relatively limited moveset, the time mechanics at play turn what would be a breathless massacre at full speed into a sort of kinetic chess game, allowing you the ability to plot every maneuver down to the millisecond. While gunplay is certainly your bread and butter in Superhot, there's a maniacal glee that comes with taking out a guy wielding a katana by throwing a typewriter at him in Superhot that makes it truly special. That winning formula is still very much in full effect here in Mind Control Delete, but a few new ingredients have been added to the concoction: rogue-lite elements. And while the formula hasn't been ruined in the least, the effectiveness has been lessened a tiny bit.

No Caption Provided
Gallery image 1Gallery image 2Gallery image 3Gallery image 4Gallery image 5Gallery image 6Gallery image 7Gallery image 8Gallery image 9

For starters, the game's levels, which were once all unique, impeccably staged setpieces, are now relegated to around a dozen or so themed rooms--such as lab, disco, prison, or casino--with enemy/item placement and your own start point randomized each time. There's more variety to be had than one might think in that randomization. The environments are elaborate and full of tiny, devilish design elements for you to mount for a better vantage, mail slot-sized holes to shoot through, or daredevil jumps to make out of windows to stomp an enemy from above. Even despite the minimalist aesthetic, these are still impeccably designed, functional places that still evoke the tense feeling of getting into a shootout in a place clearly meant for public use. The environments follow real world placements for everyday objects, which means using them to your advantage--using an open car door to evade a bullet, grabbing the handle off a slot machine to use as a weapon, or getting behind a DJ booth to take cover behind a speaker. Suspension of disbelief in the sparseness of it all tends to vanish in the moment. There are vast, glorious opportunities for you to surprise your enemies, or vice versa, and it takes hours to get to a point where things start to wear thin.

Continue Reading at GameSpot
Posted in Uncategorized

Superhot: Mind Control Delete Review – Hack ‘N Slash

You gotta respect a game that tells you exactly what it is upfront. Within minutes of starting Superhot: Mind Control Delete, you're told, in those now infamous subliminal text cards that pop up from time to time in the previous games, that yes, this game will give you more. No story. No closure. No long-winded explanation of what happened in the last two games. Just more senseless shooting, and then it'll be over. And to Superhot Team's credit, they deliver on their promises. This is, definitely, a lot more Superhot. But it's also a few other things that aren't nearly as welcome.

Mind Control Delete is still fundamentally following the same mantra as the other two games: Time Moves When You Do. It's still a first-person shooter that places you in sparse, stark white, and self-contained little killzones, against a small group of keen-to-kill goons made out of, seemingly, fragile red glass. Your job is to John Wick your way out of whatever wild scenario you've been placed in, using objects in your environment to your advantage. There are guns, but with very limited ammo. So, when you don't have a gun, grab a sword. If you don't have a sword, grab a knife. If you don't have a knife, grab a book, a pen, or a teacup. Even with a relatively limited moveset, the time mechanics at play turn what would be a breathless massacre at full speed into a sort of kinetic chess game, allowing you the ability to plot every maneuver down to the millisecond. While gunplay is certainly your bread and butter in Superhot, there's a maniacal glee that comes with taking out a guy wielding a katana by throwing a typewriter at him in Superhot that makes it truly special. That winning formula is still very much in full effect here in Mind Control Delete, but a few new ingredients have been added to the concoction: rogue-lite elements. And while the formula hasn't been ruined in the least, the effectiveness has been lessened a tiny bit.

No Caption Provided
Gallery image 1Gallery image 2Gallery image 3Gallery image 4Gallery image 5Gallery image 6Gallery image 7Gallery image 8Gallery image 9

For starters, the game's levels, which were once all unique, impeccably staged setpieces, are now relegated to around a dozen or so themed rooms--such as lab, disco, prison, or casino--with enemy/item placement and your own start point randomized each time. There's more variety to be had than one might think in that randomization. The environments are elaborate and full of tiny, devilish design elements for you to mount for a better vantage, mail slot-sized holes to shoot through, or daredevil jumps to make out of windows to stomp an enemy from above. Even despite the minimalist aesthetic, these are still impeccably designed, functional places that still evoke the tense feeling of getting into a shootout in a place clearly meant for public use. The environments follow real world placements for everyday objects, which means using them to your advantage--using an open car door to evade a bullet, grabbing the handle off a slot machine to use as a weapon, or getting behind a DJ booth to take cover behind a speaker. Suspension of disbelief in the sparseness of it all tends to vanish in the moment. There are vast, glorious opportunities for you to surprise your enemies, or vice versa, and it takes hours to get to a point where things start to wear thin.

Continue Reading at GameSpot
Posted in Uncategorized
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