There's a good reason that Nintendo showed off video game footage culled from the PlayStation 3 and Xbox 360 versions of third-party games, not the Wii U, at last week's E3 unveiling of the console. According to a new report, Wii U games just weren't looking so hot on current hardware.
Not surprising, given that the console isn't due until next year, Nintendo of America president Reggie Fils-Aime's explanation for the lack of actual Wii U footage from third-party developers. According to a Wii U white paper published by Hit Detection, the consulting company founded by former Newsweek journalist N'Gai Croal, the kits in developers' hands are just not up to current-gen snuff, but they are working.
From the report:
Developers have underclocked development kits, and worked hard to deliver titles running on that hardware to demonstrate live at E3. However, due to titles not looking much better than what is currently available on Xbox 360 and the PS3, Nintendo decided late in the game to not show those titles and focus instead on tech demos. In particular, THQ stated that Darksiders II was running on development hardware and could have been shown. Also, Epic vice president Mark Rein tweeted during E3 that Gearbox's Aliens: Colonial Marines was being made for Wii U with Unreal Engine 3, showing that Epic is bringing its tech to Wii U.
Fortunately, additional developer feedback implies that the Wii U is at least more powerful than the PS3 and 360, perhaps 50% or more, based on estimates. It's potentially promising for Nintendo fans that some third party games may look close or on par with current console competition at this stage of development.
Given Nintendo's hesitation in revealing final hardware specifications for the Wii U, we'll just have to wait and see what the system is capable of as we get closer to its 2012 launch.
New comics arrive in comics shops every Wednesday. New and old ones hit online comics apps on Wednesdays, too. After a week's break from E3, I'm back to recommend a few, though, I'm sorry to say that this week is light on promising new books.
Here are my recommendations as well as the normal run-down of video game comics. Happy, comics reading!
Kirby Genesis #1 The team behind Marvels, writer Kurt Busiek and painter Alex Ross, are joined by artist Jackson Herbert to launch a new series based on concepts created by the great Jack Kirby (creator or co-creator of characters ranging from the Fantastic Four and Captain America to the Demon and Darkseid). Official summary: "A message to space has been heard and answered—but what has come to Earth isn't what anyone would expect! As cosmic visitors begin to be revealed to the world, a deadly battle begins—and three ordinary people are caught up in it. Featuring: Captain Victory, Silver Star, the Glory Knights and more—and this is just the beginning!" (Note: the image atop this post shows one of the limited-edition Alex Ross covers for the first issue.)
DC Universe Online #10 Official summary: "! Lex Luthor has saved the day and done what Superman couldn't by rescuing the Daily Planet and foiling Brainiac's plans. Now, Superman must answer to the JLA for his dereliction of duty, and it won't be pretty!"
Deus Ex #5 Official summary: "Adam Jensen closes in on his former ally Durant...but who's pulling the psycho cyborg's strings? Is this all a feint to undermine Sarif Industries? If so, who's behind it?"
Gears of War #17 Official summary: "Best-selling author Karen Traviss continues to explore the years prior to 'Emergence Day.' It's the end of boot camp and the start of the real war for new recruits Marcus Fenix and Carlos Santiago. Marcus immediately establishes his reputation as a hard-charging Gear and natural leader, while his father struggles for a breakthrough in his orbital laser research, codenamed Hammer of Dawn."
Level Up (graphic novel) Official summary: "Dennis Ouyang's parents want him to become a doctor. But Dennis just wants to play video games. What happens when fate takes a hand - in the form of four adorable, bossy, and occasionally terrifying angels—to lead Dennis down the straight and narrow path to gastroenterology?"
Sonic Universe #29 Official summary: "Inside Job' Part 1. Step aside Sonic; this arc stars Scourge! The vicious 'Evil Sonic' is under heavy lock-down in Zone Jail. Can it be that the would-be world conqueror has been beaten into submission? And when some unlikely allies arrive, will his ego allow him to accept their help?"
The ComiXology Comics app has a batch of new comics, as always, including most (but, oddly, not all) of Paul Cornell's recent Action Comics. That run featured Lex Luthor on a quest for power that had him crossing paths with many classic comics villains as well as, shock of shocks, Death from Neil Gaiman's Sandman. Also at ComiXology... Grant Morrison and Jae Lee's four-issue Fantastic Four: 1234 debuts on the store. I haven't read it in a while, but I recall it being smart and a bit melancholy. One of Morrison's overlooked works. Recommended. If you have Green Lantern fever, the first 21 issues of the 1960s comic series that debuted Green Lantern Hal Jordan are also now in the shop, though, in brightest day, beware the price of these old comics … for $2 an issue? They've been reprinted for cheaper. The full 12-issue run of Mark Gruenwald's 1980s Marvel series Squadron Supreme is also on the shop. I have heard good things about that, but also heard this team was simply Marvel's take on the Justice League. Worth reading? You tell me.
Captain Britain and MI: 13 #1-8 I bought this series on my iPad a while ago, after hearing great things. I knew nothing of Captain Britain (his earlier 80s comics is one of my few Alan Moore blindspots) and had never ready any of the Secret Invasion storyline that the first four issues of this recently-cancelled short-lived series cross over into. Nevertheless, this series has been a fantastic read.
Captain Britain is Britain's top costumed icon. He leads a team of super-heroes on behalf of the British government to battle supernatural threats. Arthurian threats. Evil spirit. That sort of thing. On the Captain's team, at various moments in the serues, is a shape-shifting alien who takes the form of John Lennon, a nurse who can rip bodies apart, a man who may or may not possess a sword that is trying to turn him evil, a super-heroine who is sort of secretly a vampire and Blade, the Wesley-Snipes-famous vampire-hunter who, as soon as he joins the team, stabs the vampire-lady with a wooden stake. Clever, surprising and entirely comprehensible even if you know little of Marvel's lore. The series is delightful (and only 15 issues long).
Tell me what you're reading this week and which great comics I'm missing.
Starting next week, Kotaku will begin streaming new episodes of Retro Game Master, the Japanese TV series that forces comedian Shinya Arino to play Japan's most popular video games, largely from the 8-bit and 16-bit era, in marathon gaming sessions.
Kotaku's parent company, Gawker Media, has licensed the series, originally known as Game Center CX, and will air fresh episodes in English on Thursday nights. Game Center CX has produced 15 seasons of gaming content, with Arino playing through dozens of Famicom, Super Famicom, PC Engine and Mega Drive games.
The show also spawned two original games, one of which, Retro Game Challenge for the Nintendo DS, came to North America.
Retro Game Master will be featured exclusively on Kotaku every Thursday night, posting at 8pm EST, starting June 23, 2011.
The official announcement from Gawker and A Bigger Boat is below, complete with the most elaborate description of what Kotaku is.
Kotaku Exclusively Brings Japanese Cult Hit Retro Game Master to the United StatesNEW YORK – Gawker Media's influential gaming website Kotaku will be the first media outlet in the United States to air a U.S. version of Japan's wildly successful cult television hit Retro Game Master.
The show, known in Japan as Game Center CX, features comedian Shinya Arino playing Japan's most popular video games – a perfect fit for Kotaku. Kotaku, in partnership with RGM, will feature new episodes made for United States viewers weekly starting in June.
Peter Block's A Bigger Boat helped secure the rights for RGM from Yuko Shiomaki's pictures department. Yuko Shiomaki's pictures department acted as international representative on behalf of rights holder Fuji Television, Japanese international sales agent STYLEJAM, and Producer Tsuyoshi Kan of Gascoin.
Says Block "Watching RGM is addictive...I knew we had something special when we couldn't stop watching our first episodes, and when people would stop for a quick peek and stay for 30 minutes. It's Iron Chef for the Gamers."
Eric Spiegelman of Jetpack Media brokered the deal between Gawker Media and A Bigger Boat.
Retro Game Master will be featured exclusively on Kotaku every Thursday night, posting at 8pm EST, starting June 23, 2011.
About Kotaku
Kotaku is the definitive digital hub for video game news, reviews, cheats, design, and entertainment. It tracks the genre's spreading popularity from hardcore obsession to casual gaming in pop culture and social media. Read by both developers and the players who idolize them, Kotaku is the lifestyle bible for millions of button-pushers and console fiends.
About Retro Game Master
Now in its 15th Season, Retro Game Master is a reality television show unlike any other that taps into the mega world of classic gaming. The show, known in Japan as Game Center CX, features comedian Shinya Arino playing Japan's most popular classic games – a perfect fit for Kotaku. In each episode, the Game Master plays a classic video game that audiences remember playing, but few could master. The Game Master does not stop playing until the game is won.
About A Bigger Boat
A Bigger Boat is the motion picture production and distribution company formed by Peter Block in 2008. Their recent productions include John Carpenter's THE WARD, SAW 3-D (the 7th installment of the storied franchise), and FROZEN, an official selection of the 2010 Sundance Film Festival. A Bigger Boat is currently in post-production on HOUSE AT THE END OF THE STREET. They also acquired the rights to Roger Smith's thriller MIXED BLOOD, which he will produce with GreeneStreet Films and Sidney Kimmel Entertainment. Peter Block is also the President & General Manager of the television network FEARnet.
EA Sports president Peter Moore brushed off the suggestion that the PlayStation Network outage did particular damage to his label, which has in the past two years seen significant revenue growth through its downloadable content, especially in its popular Ultimate Team offerings.
"It was unfortunate but ... I think it's just delayed purchases," Moore told Kotaku at E3 last week. "I felt bad for Sony; we tried to help Sony. We really tried to focus on ‘There but for the grace of God go many of us.'"
"I think it's just delayed purchases. You're still going to buy TPC Boston eventually," he said, referring to a course available as DLC in Tiger Woods PGA Tour 12: The Masters. "I think we all learned some hard lessons."
Since 2009, EA Sports' downloadable content offerings have become more robust and increasingly tied to the game's main persistent modes of play. NHL, for example, offers a long list of microtransacted boosts for players in its "Be a Pro" career mode. NCAA Football has offered boosts in its Dynasty mode. This year, downloadable courses have been integrated into the career mode of Tiger 12; those who choose not to buy them - or in the case of late April and May, can't buy them - must skip the events.
Ultimate Team modes, available in FIFA, NHL and Madden offer "packs" of player cards who are assembled into a fantasy-type team for online play. Though packs may be acquired for free with coins that are earned in online play, the 23-day total outage of the PlayStation Network meant there was no Ultimate Team play of any type, and no way to acquire new packs, free or paid.
But Moore, who said title abandonment is his nonstop concern, said that even the multiplayer figures rebounded healthily after PSN came back online May 14.
"We saw within a week we got back to 90 percent levels," Moore said, without discussing hard numbers. EA Sports is sensitive about portraying one multiplayer service as dominant over another, although multiplayer figures for Madden during the NFL's opening week last year showed the game was played online more on Xbox 360 than PS3.
"It obviously hurt Sony and hurt them financially," Moore said. "If I'm Sony the concern I have is, did it push people to Xbox Live?"
With Ridley Scott's suspected Alien prequel, Prometheus, in production, it's time to look back and ask: What does your favorite Alien movie say about you? The answers may surprise you!
If the you're a fan of the first Alien, you respond to the cold, dark world of the unknown. It drives you like the Nostromo, plowing through the big black of space. You like your horror Paxton-free, there's no time for humor when people are dying. You also may have a few trust issues, as you should. Is this just a regular dinner, or will this meal end with one of your mates strewn across the table? Thankfully this also makes you a bit of a survivor. When the end-of-the-world is nigh, you're the best equipped to make the big decisions. Who's going up in the air-shaft to find out what's making all that racket? Not you. A cat lover, you have a calm that propels every decision, even in the face of unthinkable madness.
You believe that high art can be found inside an action film. You appreciate the difference between Predator and Armageddon, and that while both are laden with cheese, long speeches, and a crew of lovable misfits, one is actually a good film (Predator). Although you are more than willing to argue the merits of film like Starship Troopers (and you will win that conversation every time).
Stuck in a firefight, you know the proper cliched characters to surround yourself with so you'll be the last one standing. You believe in shooting first, and asking questions later. But beneath it all beats the heart of a loner just looking for a stoic Michael Biehn-type and a wild child to settle down and start a family with.
You believe in the cult of nothingness. Just like there is no escape from the Xenomorphs for the prisoner monks, there is no escape for you either. The world is a bleak place. Love, family, hope, it's all just waiting to be thrown into the fire. What is the use in taming the love from a feral child or rescuing potential mate Hicks, when life will just murder them while you sleep? You are not a glass-is-half-empty kind of person. You are a half-a-Lance-Henriksen kind of person. Sure, every once in a while there's time for a bald-headed romp with another doomed inmate (inmate of life, that is) but not even a wise, bespectacled black Jesus can save you. In the end, we're all just meat for the festering monster asleep in our guts.
Oh, you odd duck. If Alien Resurrection truly is your favorite Alien film, you are a special type of cinephile (who has probably used that term in a non-sarcastic manner). No camera pan, CG, color, or character quip is lost on you. You have an affinity for foreign films. While watching Alien Resurrection you'll comment at length about the color palette of Delicatessen or the visuals of The City of Lost Children (but may not comment about the actual plot). You may also be a little adventurous in the sack (i.e. you'd be much more willing to go to dark places with a xenomorph, but would probably kill the evidence before anyone found out).
While the Alien 3 fan finds solace in the cold dark nothingness of life, you believe that creation begins in that bleak empty nothingness. Just like the alien/human spawn that is able to generate 10 times its size from thin air. You see beauty in the broken (and trick basketball shots). But deep inside, you know it must be destroyed. You know you must be destroyed, which is why you probably torture yourself by watching Alien Resurrection.
Hey, movies are confusing, we get that. Sometimes it's just more fun to watch a video game. If AVP is your favorite Alien movie, you might be a bit of a rule breaker or game changer. But not necessarily in an good way. For example, "Hey did you hear that Joel broke into the High School last night and smashed up the science lab?" "Yeah, he's fucking nuts."
Perhaps you played a lot of DOOM as a kid, or you're really into mazes or puzzles with no rhyme or reason. You have little respect for stodgy legacies or stuffy mythologies. Rules were meant to be broken — you might even have that saying on a T-shirt somewhere which you ironically drag out of the closet from time to time.
You like your vagina metaphors up front and proper, and shoved right down your throat (literally). Also, you enjoy seeing films get shit-canned.
Special thanks to Jonathan Wilkins.
There Is No Key | Nintendo says the virtual key to a new world of downloadable content is in my hands. (Photo: Crecente)
A third-party public relations firm tweeted last night that they would be "reviewing who gets games next time and who doesn't" based on the bad reviews pouring in about Duke Nukem Forever. "Too many went too far with their reviews... More »
The newest addition to Zynga's game family is Hanging With Friends, an app for iGadgets big and small. It's a twist on classic hangman, with elements of Scrabble and other word games thrown in. More »
Things were getting weird last week when the cheerful game developer and digital media artist Hye Yeon Nam started gluing a sensor to her tongue, weirder still when she had me glue one to mine. There I was, a couple of hundred paces from the massive PlayStation and Nintendo exhibitions at the E3... More »
In this week's episode of Kevin Smith and Jason Mewes' excellent podcast Jay and Silent Bob Get Old, the dynamic duo spends several minutes hawking Infamous 2. More »
On July 22, Captain America becomes the latest Marvel Comics character to get the blockbuster movie treatment, and on June 28 he'll be busting balls as the latest addition to Zen Studios' Marvel Pinball and Pinball FX 2. More »
Prey 2 had me at intergalactic bounty hunter. I don't need to know how they tie this blending of Red Dead Redemption and Blade Runner into the original Prey, (you're an air marshal on a plane spotted in just a few minutes of the original game). More »
A couple of years ago, in the summer before the release of the second Assassin's Creed I found myself discussing the many things that were wrong about the flawed first game in the series. More »
As many of you know, the upcoming Super Mario game for the 3DS will be bringing back Mario's iconic Tanooki suit, the raccoon-like outfit that allowed Mario fly in Super Mario Bros. 3. Though the suit has returned, its functions have changed. As it turns out, Mario will not be able to fly this time around.
During a Nintendo developer roundtable at E3 last week, one puzzled journalist asked Yoshiaki Koizumi, a producer of Mario's upcoming 3DS adventure, a couple of questions on the matter: First, why won't Mario be able to fly using the Tanooki suit in the 3DS game? (He can merely flutter-jump). Second, where did the connection between raccoons and flying come from to begin with?
Koizumi handled the first, more technical technical question himself:
So it's true that Mario was able to fly with the Tanooki suit in past games, but there was also, I believe, a form that had a tail and ears but couldn't fly? And one of the reasons that we decided to go with the "Raccoon" Mario style in this game is that flying does present some interesting issues in three dimensions. You do have the slow fall, which makes certain types of gameplay more accessible, but having the character fly in 3D on the smaller 3DS screen would have been a little bit difficult. So we decided to bend the rules of the Mario world [on the 3DS] and solve that problem.
As it turns out, Mario was able to fly with both the raccoon leaf power-up and Tanooki suit. The raccoon tail allows Mario to spin and hit enemies, while the Tanooki suit allowed Mario to turn into a statue. Both suits allowed Mario to get airborne, though.
For the second question, Koizumi deferred to Takashi Tezuka, a designer who helped create the Tanooki suit for Super Mario Bros. 3, who explained that the road to Mario's first flight was a gradual process:
"So actually the idea for the Tanooki suit came originally from wanting to put a tail on Mario, and so we started off by putting a tail on Mario in Super Mario Brothers 3 and we wanted to use that tail so he could do the little spin move and hit enemies with his tail, as sort of an attack. But then, once we had the tail on Mario, we thought: We've got this great tail. Isn't there something else that we can do with it? So, then the next thing we started to do was to have the tail kind of flutter back and forth, and we thought that that's kind of like a propeller, so that flutter motion would make Mario a little bit lighter, so he could jump further. But once we started doing that, it felt so good that we said; 'let's just make him fly'."
As crazy a process as that was, it kind of makes sense to me. Is that weird?
With the license to make a Jurassic Park game in hand, Telltale Games had to find the perfect starting point for a story that would fit into the film's canon without upsetting or reimagining the events of the first film.
They found it in a can of shaving cream, lost for nearly 20 years.
The Barbasol can, remember? In the 1993 summer blockbuster, the hapless Nedry's backfired plan to smuggle out dinosaur embryos in a false-bottom shaving cream can is what frees the dinosaurs and sets off the survivors' frantic attempt to escape the island.
Nedry never made it to the handoff, of course. During a torrential downpour his jeep bogged down and he was devoured by dilophosaurs, whose iconic (if scientifically unsupported) neck fans and poison spit made them about as memorable as the nasty velociraptors. But after Nedry croaks, that's it. We don't know what happened to the canister, nor do we know what his handlers did when Nedry didn't show. For something worth $1.5 million, surely they would have gone looking for it, right?
That loose end provided Telltale the perfect entry to a story contained entirely within the time of the first film—much more memorable and enjoyable than its two underwhelming sequels—without repeating or adapting its events for a game, much less retconning anything.
At E3 2011 last week, Telltale showed off what creative director Dave Grossman called the studio's "most cinematic game to date." It'll arrive later this year on PC/Mac and on the PlayStation Network, in an episodic form similar to the rollout of Back to the Future. The Xbox 360 will see a retail release containing all of the game's chapters on a single disc.
It's a Telltale Game, so this isn't a third-person action game or, heaven forbid, a shooter. It's very story-driven, focused more on puzzle solving, paying attention and advancing the story than it is action. It does have some faster-paced sequences, navigated entirely by timed button presses within Quicktime events.
In conversations, a Mass Effect-style dialogue wheel allows some role-playing choice, but the discussions don't truly branch and all arrive at the same conclusion.
Spoiler Alert: As it's a narrative game, to discuss what Jurassic Park does, we've got to talk about the story it's telling. Fans of the first film looking forward to this new chapter of its story should consider whether they want to read further.
Alright? We're cool now? Good. Back to what I saw.
In the sequence I was shown, you'll be playing as one of the two people assigned to meet Nedry. You control Nima, who is a profit-motivated mercenary but certainly not a stooge, nor particularly evil. Miles, her companion, is a backstabber, which is why you don't control him. While all the characters you play in Jurassic Park will have their own agenda, for some that will mean cooperating with others.
Nima and Miles encounter Nedry's jeep and his chewed-up remains during a clue-finding investigative sequence. At this point they're not aware of the bizarre danger surrounding them; the writing and the acting in Jurassic Park the game portrays the dinosaurs the way the film did: not as monsters but as animals, albeit extremely threatening ones.
Nima, in a sequence initiated by the player, figures out that Nedry must have dropped the Barbasol can and uses an object of similar weight to simulate where it may have rolled. She and Miles are then set upon by dilophosaurs. Miles sacrifices Nima as bait to make his own escape, but he meets the requisite grisly end. Nima avoids the creatures (entirely by Quicktime event) and makes it into the jeep and ultimately to safety, ending the scene.
Telltale said this will be the first game it's done where a player can fail in a way that gets his character killed, and we saw Nima buy the farm once, just to prove that point. Dinosaur types will appear and reappear throughout the game, rather than turning the entire tale into a case of "Here's the dilophosaurus level; here's the velociraptor level," etc.
The way the film foreshadowed the threat before loosing the dinosaurs is something Telltale wants to honor, too, Grossman said, and Jurassic Park will offer its own prehistoric adversaries. "There is also a mysterious new threat that even the chief veterinarian doesn't know about," Grossman said.
The pre-alpha version of the game we saw had yet to refine the facial movements in the dialogue scenes and some details, like gunfire muzzle flashes, needed to be added. Environmentally, it was richly illustrated and the visual style is realistic, not cartoony.
Telltale believes, with some justification, it does storytelling the best of any games maker, and above all that will be the reason for picking up the game. It's more than an interactive story, but it won't be fast-twitch entertainment by any stretch. Jurassic Park's target audience will be those who enjoyed the first film and want to explore more of the island, not visit old haunts in a different medium.
The WIi U will have better, more impressive online functionality than any Nintendo console before it, we learned last week at E3. What does that mean?
Reggie Fils-Aime, president of Nintendo of America, told us: "We've spent a lot of time talking to a variety of publishers about what they want in an online environment. What they've told us is that they want it to be flexible. And they've told us that they want it capable of connecting across platforms. So we're building a system that is able to do that. ["Cross-platform," we asked? What do you mean? He said:] Whether it's social networks or mobile or things of that nature. We've built that system. We have that capability."
Katsuya Eguchi, tenured Nintendo designer, creator of Animal Crossing and multiple Wii U demos, told us: : "I can't go into details... We're trying to find new experiences... In looking at the approaches on the Xbox and PlayStation—what they've done and what people have responded really well to—we've definitely considered including those kinds of experiences, and we think that our third parties also want those as well... but there are also things Nintendo does and other companies haven't. We need to balance out what exactly what we need to bring to the user to bring the best experience possible."
Nintendo president Satoru Iwata didn't talk to us at E3, but he did talk to investors, and said:
To start, I'll have to say that I don't have any materials with me today that can illustrate precisely what our online environment will be like, but I can speak generally about the direction that we are moving in.
I think, in general, the online environment is changing quite rapidly.
So, what I have come to feel lately is that the idea of saying, "we are going to create this style of online structure and that we would like you, the developers, to fit into the online structure that we are creating" is perhaps already out-of-date.
I think that Nintendo's past console business has often included this idea of a set and fixed online structure. So, I think that, going forward, the question is really to what degree Nintendo can create a more flexible system for its consoles.
And, what we found at this point is that, as we discuss the online structure with different publishers, the things that the different publishers want to do are in fact seemingly rather different.
Our current direction is how we can take the desires of the third parties and create a system that's flexible enough to enable them to do the types of things that they might want to do.
So, for example with the question of VoIP [voice-chat], I think then what we would like to do is work with them on how to enable them to do that. But, what we're not going to do is to consider as prerequisite conditions that every game includes features like that because obviously there are some developers who may not want to do that.
As for social networks, after examining the penetration and adoption rate of social networking services like Facebook, etc., we've come to the conclusion that we are no longer in a period where we cannot have any connection at all with social networking services.
Rather, I think we've come to an era where it's important to consider how the social graph of the social networking services can work in conjunction with something like a video game platform.
So, once we get to a point where we're able to talk more concretely about our online plans, I think that once you hear what we'll have to say, you'll feel that Nintendo has a policy of adapting itself to changes in the network environment in a flexible fashion rather than the one of sticking to a rigid mechanism, or perhaps you'll notice that we have found ways to take advantage of these types of features like VoIP and social networking, where our systems have been seen as being weak in the past. However, unfortunately, we won't be able to share anything concrete today.
Got it now?
We don't have details about whether there will be a unified Achievements system, though we do know that Nintendo's internal teams aren't a fan of such a thing. We do know that Ubisoft showed at E3 that they're planning all sorts online match-making and stat-tracking, some of which will be available without the game fully being turned on, right off the Wii U's screen-centric controller. We do not, however, have anything close to a vision of what Nintendo's answer to Xbox Live or PlayStation Network is.
The pessimist will say that Nintendo is once again not aggressively promoting a unified and specific online strategy and certainly not leading the way with online-centric Wii U software. The optimist will say that Nintendo finally gets it. They finally sound like they care about online.
All of you will probably want more details. Us, too.
Of the many, many violent shooters on hand at E3 2011, one of the few I chose to play was Sega's Binary Domain. It is not as awe-inspiring as BioShock Infinite or Battlefield 3, but it did at least two things that made it memorable.
If Binary Domain is not on your radar, that's perfectly understandable. It's a dreary looking sci-fi shooter that pits a human squad of forgettable characters against an army of rebellious robots. I didn't think much of the game when Sega first revealed it, despite developer Toshihiro Nagoshi's pedigree (Super Monkey Ball, Yakuza). At E3, I played it mostly out of morbid curiosity.
There were, after all, much better shooters of third-person and first-person variety at E3 2011 to be played. Plus, Sega already made a great third-person human versus robots shooter with the help of Platinum Games, the faster paced Vanquish.
I can't say that mind has changed much about Binary Domain after playing one of its levels set in a crumbling Shibuya. But it has at least two things I found, if not opinion-changing, potentially interesting.
Binary Domain is a third-person shooter, putting the player in direct control of a Shooting Game Dude named Dan Marshall, member of the International Robotics and Technology Agency's military arm. Joining Dan is a group of specialized teammates, including the massive Big Bo, a heavy machine gunner; Charlie a British spec ops agent; Faye, a Chinese sniper in snug futuristic fatigues; and Rachel, another Brit who specializes in close quarters combat.
Working with that squad is where Binary Domain borders on promising. In my E3 demo experience, I could choose two teammates. I went with Big Bo and Charlie, informed by a Sega rep nearby that those two had the highest "Trust" score at the time. We fought together in a familiar cover-based assault on teams of enemy robots.
Occasionally, Bo and Charlie would ask me questions, prod me for orders, and take direction. I could respond with a pull of the PlayStation 3 controller's L2 trigger, giving them my response. My responses would engender their trust in me (or whittle it away), as would my actions. Friendly fire would cause them to lose trust in me. Coming to their aid while pinned down by robotic gunfire would increase their trust in me.
Even without fully understanding the math of this particular mechanic, nor believing it to be revolutionary in any game-changing way, I wanted to explore it more. I wanted to see how my teammates would react to my orders without having faith in my decisions.
The other thing I like about Binary Domain was the way its enemies reacted to gunfire. I don't care for Binary Domain's aesthetic, but Sega made these robots interesting targets. Shooting robotic enemies in the arm, for example, might make it defenseless. Or that robot may simply pick up its destroyed arm and reclaim its weapon. Shooting off its head would cause it walk aimlessly, comically with arm outstretched firing blindly at friend and foe.
Less goofy was the result of shooting off a robot's legs. Then it would crawl and scratch its way either to cover or at my team, a last ditch effort to kill its human enemy.
Gameplay-wise, Binary Domain did little else compelling. I fought robot enemies of varying shapes and sizes, including one massive robot that required climbing to the roof of a multistory Shibuya building, then jumping onto its back. I attempted to buy and upgrade new weapons at a military vending machine that unfolded like a Dead Space work bench. I interacted with my environment, shooting down powerlines to take down robot bad guys. My team and I worked together, me rescuing them, them rescuing me, when robots overwhelmed us.
There wasn't much to Binary Domain that made me rethink it or rabidly anticipate its 2012 release on the PlayStation 3 and Xbox 360, but it has some hooks. We'll see how deeply they hold us next year.