Nintendo isn't worried about Apple wresting dominance in the battle for your living room.
Even if the iPhone maker could announce its long-rumored television at some point this year, Nintendo President Satoru Iwata says he isn't worried about Apple's new device taking attention away from the Wii U. In response to a question during an investors Q&A last week in Los Angeles, Iwata said he doesn't think people will flock in droves to an Apple television.
"We see in the mobile phone market that typically there is a cycle of people replacing their phones roughly every couple of years so a new device like a smartphone penetrates the market quickly," he said. "But when it comes to the television market, the cycle for television replacement is actually much longer; say a five-year cycle at the shortest, to a seven or even 10-year cycle at the longest. So, however fantastic the new television is to be launched, it's not as likely that people will immediately move to upgrade a television necessarily because of that longer cycle."
2012 E3 Analyst Q & A Session - June 6, 2012 [Nintendo via NeoGAF]
Editor's Note: The mysterious figure known as Superannuation is back with more fistfuls of gaming gossip. What has Superannuation dug from the Internet this time to share with you wonderful Kotaku readers?
One of the more mystifying absences from last week's E3 was Eidos Montreal's Thief 4, a game which has been in development for four years — an amount of time that encompasses the entirety of the development cycle for the studio's first game, Deus Ex: Human Revolution. If a perusal of various online resumes is anything to go by, the project appears to be rather beleaguered.
After two-plus years of work on the project, Thief 4 audio director and composer Paul Weir left the Eidos Montreal in March. The month prior, lead level designer Adam Alim went to WB Games Montreal. He apparently is not the only lead level designer to hop off the team — Pierre-Olivier Clement, the previous lead level designer, apparently moved to another project at Eidos Montreal last year. Among other departures: two senior concept artists exited Eidos to a freelance career after nearly two and three years, respectively; a senior technical level designer left last month; a senior animator went back to Ubisoft last September; and a senior level designer moved to something else at Eidos in August.
Adding to the mystery is the fact that Square Enix has been sitting on a seemingly completed trailer for the game for quite some time. Vancouver-based video game trailer house Goldtooth Creative — the folks behind DX:HR's CG work and trailers — worked on a Thief 4 spot around early 2011. According to a Goldtooth editor's resume, the trailer was supposed to be "Released in December 2011" — perhaps during last year's VGAs? Some footage from that trailer — which matches the storyboard art dug up by eagle-eyed fans at the TTLG forums — appears in the first thirty seconds of this demo reel.
Despite the apparent turnover among senior staff, the game seems somewhat structurally sound. An Eidos Montreal level designer mentions having "Designed the last level of the game." Maybe Thief 4 isn't as far off as the other turbulence may suggest?
Also of note: a technical animation director who left Eidos Montreal this past month mentions "Animation pipeline development for current and next generation video games," a detail that lends credence to a recent recruiting firm post alluding to a new Deus Ex title for future generation consoles.
Details of enigmatic indie developer Playdead's follow-up to Limbo have emerged via a listing of interactive grant recipients from the Danish government. Carrying the working title of "Project 2," the game is 2.5D platformer "in color" that "tells the story of a boy's struggle against evil forces trying to take over the world through questionable experiments on human bodies." In addition, the site lists intended platforms as PS3, Xbox 360, PC and Mac.
The above piece of concept art also accompanied the project description. It is rather dark, and appears to depict a silhouette of a boy—slightly lankier and less cartoonish than Limbo's boy silhouette — dragging what is either be some sort headless alien carcass or one of those aforementioned "questionable experiments." While the art seems to continue the stylistic and tonal threads from Limbo, Playdead CEO Dino Patti cautioned last October that "the art is not fully there yet," so there might still be opportunity for an aesthetic departure.
However, Patti also noted, "['Project 2' is] similar in many ways, but so different" and "more weird in many ways." That might explain why Danish newspaper Politiken called Playdead's next game "a bleak spiritual successor to the award-winning Limbo."
Playdead began work on their second game around fall 2010 shortly after Limbo's release, and the studio expects production on the game to last "at least three and a half years." Adding the two together roughly suggests an early 2014 launch date.
The future for Seattle's Fuelcell Games, developer of last year's colorful 2D shooter Insanely Twisted Shadow Planet, might be uncertain. In March—a month before the self-published Steam release of ITSP—a senior engineer left because of a "lack of work for the studio."
A game designer who departed in February says the team was working on two prototypes for new projects as of earlier this year: "Conquer" and "Ship Studio." Of the two prototypes, the former—"Conquer"—seems to be the furthest along, with this internal trailer from January.
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Described as "a mix of Castle Crashers and League of Legends," "Conquer" appears to be a cartoonish RTS with tower defense elements putting the players in the shoes of some sort of the tribe trying to fend off an invading army. The other prototype, "Ship Studio," is a multiplatform racing game where players use a smartphone app to make a vehicle that they can play on the PC.
Finally, after teasing the possibility of a sequel to the 2000 Norse third-person action title Rune, it seems Human Head Studios is indeed working on a sequel. A game designer's resume mentions a "melee brawler" named Rune 2 for the Xbox 360, though it sounds like such a project is only in the prototype stages. The studio quietly announced last week in an internet comment-filed trailer that original Rune is coming to Steam with "new content" in "early June" (this week?). Human Head is also working on some sort of Unity-based iOS and Android title—Rune Mobile?
Editor's Note: Superannuation knows things, including how to use the Internet and put two and two together. Superannuation pays attention and surmises many things about video games. More »
The creators of the new Tomb Raider have denied that their new game features an "attempted rape scene," directly contradicting their own statements to Kotaku last week.
Addressing the widespread reactions to the article posted on this site yesterday, Crystal Dynamics studio head Darrell Gallagher released a statement today saying that there is no rape attempt against Tomb Raider hero Lara Croft in the scene shown in their "Crossroads" trailer.
"One of the character defining moments for Lara in the game, which has incorrectly been referred to as an 'attempted rape' scene is the content we showed at this year's E3 and which over a million people have now seen in our recent trailer entitled 'Crossroads'," Gallagher wrote. "This is where Lara is forced to kill another human for the first time. In this particular selection, while there is a threatening undertone in the sequence and surrounding drama, it never goes any further than the scenes that we have already shown publicly.
"Sexual assault of any kind is categorically not a theme that we cover in this game."
This directly contradicts a statement made from Crystal Dynamics Executive Producer Ron Rosenberg to Kotaku last week in Los Angeles. Here's the full transcript from that interview:
RON: "And then what happens is her best friend gets kidnapped, she gets taken prisoner by scavengers on the island. They try to rape her, and-"
KOTAKU: "They try to rape her?"
RON: "She's literally turned into a cornered animal. And that's a huge step in her evolution: she's either forced to fight back or die and that's what we're showing today."
Here's a YouTube clip of the scene in question:
We've seen large-scale online shooters before. M.A.G. for the PlayStation 3 supported 255 players per battle. Huxley, another PC MMOFPS, once promised hundreds of players per battle but eventually settled on a more manageable 64. It's all about balancing server loads and the number of characters that can be rendered at one time. In other words, it's all about compromise.
SOE doesn't want to compromise with PlanetSide 2. They want 2,000 players on a massive continental map at one time, 666 per faction (with one lucky faction getting 667). They want battles raging for days and weeks, with organized teams of players battling for control of landmass and resources.
That sort of scale wasn't possible back in 2003 when PlanetSide debuted. It did boast hundreds of players per battle, but in order to achieve that the game had to play fast and loose with FPS mechanics. It wasn't precise, it wasn't particularly pretty; it felt like a budget game that just happened to stumble upon a persistent world.
PlanetSide 2 feels like a first-person shooter. It's precise. It's tactical. As I played through a decisive battle for strategic region of one of the game's tri-colored continents, I forgot I wasn't playing on an enclosed map. A beta player shouted instructions through the headphones as we fought for control of three bases in a red and rocky desert setting, guiding us to our objectives and deploying backup where needed.
I played as a sniper, hiding in corners within view of windows, using my scope to take out invaders from afar. I played as a commando-type armed with an assault rifle, never staying in place, always one step ahead of the enemy. I played as a massive tank character, bullets bouncing off my armor as I closed in for a brutal flamethrower kill. I called in an aerial vehicle and crashed it almost immediately.
I tea bagged a member of my own team. I'm not particularly proud of that.
But it proves I was in the spirit of a first-person shooter. Somewhere out there a general is watching a blinking colored spot on a map, urging us to take the base, cutting off a rival faction from their main force and thus making it easier to mop them all up. I couldn't care less. My battle was between the guy in black that kept getting behind me and filling me with holes.
It wasn't until my SOE handler took the controls of an aerial unit that the sheer size and scope of PlanetSide 2 really hit home. As he flew across the continent the sky changed colors hypnotically. Desert gave way to forest, which then gave way to ice. I was mesmerized. I suddenly felt very insignificant. I longed to get back to the battle, where I knew my place.
That's exactly what I wanted when I first got word of the original PlanetSide. Being a part of something massive without having to think about it too much. It looks like SOE is getting it right the second time around.
The world of massively multiplayer online games keeps getting, well, more massive. We've come a long way since I first picked up the genre eight years ago. World of Warcraft may still dominate the traditional monthly susbcription market, but free-to-play multiplayer worlds of all kinds boast tens of millions of subscribers worldwide.
At E3 last week, I saw demos of a half dozen games each claiming to be a unique, fresh entry to the space. The interesting thing is, in a sense, they all really are. Every game I saw was easy enough to sit down at and pick up the basics of, but each and every game I saw also had at least one surprising or new-to-me feature, whether in settings or skills. From singing to space, here's a look at what unique features RaiderZ, Otherland, Grimlands, and 3000 AD: Line of Defense bring to the table.
RaiderZ
I almost missed out on RaiderZ, but I was running early for my appointment to play Neverwinter, and Perfect World was able to put me on RaiderZ in the interim.
It began more or less as I would expect from an MMO: the three of us playing the demo sat down at stations loaded and ready to go with warriors and mages in spiked armor and bare midriffs, running around a grave-covered area and swatting at skeletons that refused to stay dead. Then we started making salads, and it got interesting.
As a monster-hunting game, RaiderZ is all about the boss fights. They are many, and they are everywhere. Map regions have them galore, and most bosses wander about. As the point of the game is to kill the bosses, and as they spawn in overland areas as opposed to instanced dungeons, competition for some is likely to be fierce. The developers agreed that spawn camping was a concern, but that so far, in early testing, there had been enough interesting zones that players spread themselves throughout the world enough to keep having fun.
RaiderZ promised the now-popular class-free leveling, explaining that yes, you start from a base job but then you pull skills from wherever you like to make a character that suits your skill. I was playing a sort of damage mage type, but to test what they meant I grabbed a sword and tried on some fighter skills, as well as leveling a heal. That heal never did quite work right, but my mage turned out to be surprisingly competent as a sword-and-board fighter.
The most unusual thing I saw in RaiderZ, though, was the high degree to which players are expected to work together while not in combat. There are two main mechanisms through which players receive buffs, boosts, and benefits: music and food. Your inventory is practically a refreshing tavern on the go.
Bemused, we followed a producer's instructions to open our bags and look for salads, roasts, and other food items. When deployed, they made work tables, around which we stood to prepare a banquet. Then we could each sample from all the tables in the area, gaining nourishment from what we'd cooked there. After the feast, we once again opened our bags and were told to select from an array of guitars we found there. Our avatars stood around together, under a tree, singing. The longer we stuck with it, the more unified the music got. And the more unified the music got, the stronger the benefit to the group.
I've seen bards in plenty of games before, but never anything quite like that.
RaiderZ is aiming for a release late this year. You can sign up for the beta at their official site.
When I sat down to observe Otherland, I couldn't help but notice that the player character was wearing boxer briefs, a conch shell hat, and nothing else. And as he wandered through a giant shopping promenade sort of area, I realized that all the NPCs hanging around, while generally wearing more clothes than the demo character, were not necessarily wearing more normal clothes than the demo character.
This turned out to be a surprisingly apt metaphor for Otherland, which had far and away the widest array of settings I've ever seen in a single game. From peaceful sky-islands based on the traditional Chinese elements (wood, fire, water, earth, metal) to a war-locked hell where floating chess pieces represent a never-ending battle, to a neon strip half Las Vegas and half Blade Runner, Otherland threw startling variety at us in just fifteen minutes. And that's not even taking into account the huge array of locations that players and groups of players will be able to build and customize for themselves.
The game is designed as the extension of a book series by the same name. The sci-fi, cyperpunk nature of the world that author Tad Williams posits is not entirely unlike the concept of The Matrix or of Snow Crash. The player character is aware that she or he is travelling through virtual worlds, but NPCs don't know they're not real.
Because the world of Otherland is virtual (well, all game worlds are virtual, but you know), PvP interaction takes place in the form of hacking. That is, a hacking minigame inside the game as opposed to the other, less pleasant sort. Clans of players can hack into each other's bases (basically, guild housing) and invade that way.
Alas, we did not get to see either traditional combat or the fine art of hacking a virtual planet in the time allotted at the demo. But the feeling I got was that in Otherland, those are almost secondary. First and foremost is expression. The game seems to be the work of those who, like me, were once children disappointed that the holodeck we saw on TV wasn't a real thing and so went and made a game as close to one as they could.
Otherland is targeting a "late 2012" launch; their official website is here.
If that screenshot looks kind of Fallout to you, you're not alone. And it's okay. That's the vibe Grimlands is going for.
It's a post-apocalyptic sandbox, and those words are music to my ears. The world has gone to hell and you are one of the survivors. It's you, a desert full of hostiles, and whatever weapons, shelter, and vehicles you can scavenge, barter, and build.
Not only does Grimlands promise a class-free leveling system, it also promises to make skills relevant and use-based. For example, you may be good with a pistol, and use it often. Your pistol skills will level. The next week, you find a sniper rifle you love, and you start playing differently. You take up sneaking and sniping, moving slowly and keeping to the shadows. Your stealth skills and sniper rifle skills will increase the more often you play this way, but after a time, your pistol skills, left unused, will atrophy. The same applies to all skills in the game: scavenging, crafting, combat.
And scavenging, crafting, and combat are all integral to survival in this world. Players can band together to form towns, with full utilities and services. Those towns—out in the open—are in many ways Grimlands's equivalent of guild housing. Citizens of the town gain benefits from being in the town. It's their environment, and it protects them. Naturally, other players will want to wrest control of a particularly nice town from the alliance that owns it.
Grimlands is aiming to start its closed beta later this month and its open beta late in July, with a full launch this fall. You can register or learn more here.
3000 AD: Line of Defense
The last MMO I saw, Line of Defense is the latest project from Derek Smart, a somewhat controversial figure in the game design world. I haven't played any of his previous games, so I had no immediate point of comparison to the more niche space shooter titles that he's made in the past.
But what I can say is that Smart is an absolute fountain of enthusiasm and passion about Line of Defense, eagerly wanting to show me every inch of the game's world. The thing is, the game's world is HUGE. And that's its best selling point. The scale of Line of Defense is staggering, and it's built to accommodate even more areas being added over time. Smart promised me, "It's the largest world you've ever seen in a game, period." I don't have the math to research his claim, but at the very least, it's plausible.
Luckily, no-one's expected to travel all over entire planets on foot. The game's all about vehicles: land vehicles, air vehicles, jet-packs, fighters for star-hopping... in a demo build, they're lying about everywhere, like so much diesel-driven candy. In the live game, naturally, they'll cost you.
Line of Defense plans to take a split approach to the "time vs money" model. You can either pay for the client, and have a bunch of perks enabled to start with, or you can download the free version, and put either significant time or nominal money into acquiring the stuff you want.
I asked if the story mattered, and Smart laughed, confirming my "no." The red guys and the blue guys are locked in a state of warfare, and as a red guy you'll be shooting blue guys, and vice versa. It's a PvP-only massive killfest, on a galactic scale.
You'll be shooting the guys in space, in massive bases (planetside and orbital), and on land. You'll do it tactically, by taking out comm towers after making sure your team all have personal comm devices, or you'll do it with brute force, just blowing everything up. You can do it with paratroopers and infiltrators, with bombers and rockets, or with pretty much any other tactics in between.
Line of Defense is aiming to start its beta in July, and to launch sometime in Q3 of this year. You can find more details (including a very thorough FAQ) on the official site.
PC designer Jeffrey Stephenson, whose work we have featured before, is back with his latest creation. There are case mods, and then there are ultra-mod case mods. This mod, is, well, mod.
Have words lost all meaning for you yet? That's all right. You won't really need them to admire this sleek, svelte, sixties-inspired PC.
Dutch painter Piet Mondrian began his famous black-grid paintings while living in Paris during the brief period between World War I and World War II. But the patterns inspired by his works were absolutely everywhere in the 1960s, particularly in fashion.
The Mondrian PC is painstakingly built from hand in wood, with acrylic tiles inlaid into the grid design. As for the PC half of this tabletop art, it is, as you would think, built for size and not necessarily for power. Stephenson lists the system specs:
Intel Core i3-2105 CPU
Intel HD3000 Graphics
Crucial 256GB M4 SSD
8GB Crucial DDR3 system memory
120W mini-box.com PicoPSU
Scythe Kozuti CPU Heatsink/Fan
Microsoft Windows 8 Consumer Preview
Given the blocky, modular way Windows 8 can look, somehow a Mondrian look seems entirely appropriate. Hit the gallery for a bunch more screenshots, or Stephenson's site for a huge set of photos showing off the (painstaking) construction process as well as the final product.
Mondrian [Slippery Skip - Jeffrey Stephenson]
Obviously Japanese developer Gamepot couldn't translate the first-person view of the original series into a game that requires players to band together, so instead of focusing on aesthetics they focused on capturing the spirit of the series in this new form. Players take on the role of a warrior, rogue, healer or mage traversing dark and deadly multi-level dungeons, riddled with hideous creatures and traps hungry for the unwary.
As I my Dwarven warrior took his first tentative steps into one of those dungeons he came across a sign that read "*FALLING ROCKS*". I smiled. This was definitely Wizardry.
As I swung my sword and blocked the blows of human bandits and skeletal warriors my heart raced. Even in this throwaway demo the words of Gamepot's Daniel Szkoropad weighed heavily. In this game, death can be permanent.
Every time a player loses their life they must hunt for an ethereal spirit stone in hopes of being resurrected. Every time a player loses their life the chances of this happening diminish. An attempt at coming back to life is met with a dramatic cut scene, and even though I knew I would return to the land of the living in the demo I found myself holding my breath.
The dramatic tension is heightened further by the fact that at any given time another player can kill you and loot precious items off of your corpse. They'll be branded a criminal for their actions, attacked on sight by non-player characters and players alike, but you'll still be dead, possibly permanently. If you should survive you can kill them and regain your items with no penalty, or spend a little gold on putting a bounty on their head.
I died nearly a dozen times over during my demo, largely due to the vicious bastards from EGM playing at the kiosk opposite me that refused to lay down and die when I attacked them. I was only testing the system, EGM, why you have to be like that?
There are 99 levels of progression in the free-to-play Wizardry Online, and players that reach such lofty heights will have earned every one of them. The sense of accomplishment will be exquisite. I'm sure they'll let me know how that goes.
Its inhabitants are a mockery of the aristocratic country gent and his ecosystem. Robots that ape tea-drinking, poachers that lurk in reed-beds, and red-eyed hounds that patrol the moor: these are the things you will be dealing with as you fight for survival.
That "recognizably British" countryside, though, isn't made of a thousand carefully hand-placed stones, thoughtfully planted hedgerows, or individually tweaked blades of grass. It's all procedurally generated. "The screenshots haven't even been particularly agonised over. We just ran and fired off the screenshot key," Jim Rossignol explains in the blog post.
Do the images look particularly British? Well to be honest, I can't necessarily say. I've been to London but that's as far into the UK as I've set foot. But they do look mysterious and haunting, in that "moonlit moors" sort of way. I feel like I can almost hear the howl of the Hound of the Baskervilles echoing past the leafless trees, no doubt exactly what they were aiming for.
The gallery here has some highlights; scope out the original post for even more.
Behold, Countryside Generator Screenshots! [Official site]
On the most basic level Miner Wars 2081 is a space sim that takes several cues from the classic Descent series, one of the last great bastions of interstellar combat in a genre that doesn't get enough play these days. Descent was known for its six-degrees-of-freedom navigation — players could move in any direction on any axis. Coupled with a first-person cockpit view this made for a dizzying spectacle, introducing many players to the concept of motion sickness.
Miner Wars 2081 takes that same gameplay and adds a unique twist: completely destructible environments. Utilizing the voxel-powered VRAGE engine, the titular miners in Miner Wars 2081 can burrow through asteroids, creating paths where no paths existed before. Digging through tons of beautifully rendered rock is strangely exciting. There's just something about tunneling through tons of stone with no way of knowing where you'll come out or what awaits you on the other side.
While I could spend all day digging, there's an actual game here as well. A game with many scripted missions to play through by yourself or with the aid of a hired friend. A compelling game made even more so by the fact that the enemies you face will have to figure out how to deal the constant changing of the structures they inhabit.
It's not a game that's all about destruction, however. Players can also create their own unique sectors utilizing the power of voxels and a simple editing tool. Build asteroids up from nothing. Hollow them out to create a hideaway for your secret base. Connect pieces together to build massive, fully navigable structures. Or just screw around. Create say, a skull out of a non-diggable material, cover it with rocks, and let friends stop by and chisel it away to find the prize inside.
I'm expecting amazing things from the Miner Wars 2081 community.
And even better, six months after the official release of Miner Wars 2081, developer Keen Software House plans to release Miner Wars MMO, a persistent-world version of the game where thousands of players can create and destroy to their hearts' content.
Miner Wars 2081 has so much potential it makes me tingle just thinking about it. At worst we'll wind up with a solid modern version of Descent. At best we'll have a massive space sim on our hands with more than enough gameplay to keep us going until someone else realizes how badly this genre needs to revivification.
Sometimes a little is all you need.
In a world formed via the dreams of two slumbering titans, the seven mortal races struggle for survival as great and powerful enemies rise up from the underworld to destroy The Exiled Realm of Arborea.
The forces arrayed against this coalition of elves, humans, towering stone beings and furry critters in armor are vast and varied. One moment they're set upon by hordes of tiny twisted fairies; the next they're facing off against massive mythical beasts easily five times their size, the sort of elaborate creations normally relegated to dungeon boss duty in other interactive fantasy realms.
How can these puny mortals hope to triumph over the assembled forces of evil?
By gaining experience, unlocking new skills and collecting powerful arms and armor until they're of the correct level to kick the ass of anything that comes their way. As I said, it's not all that different from your average MMO.
In fact there are aspects of Tera that rely a bit too heavily on the games that came before it. Progressing through the game's various storylines isn't a particularly dynamic experience. You find the quest givers. They give you quests. Those quests lead to the next set of quest givers, and so on until you're level 60 and stuck with the same handful of quest givers until new content arrives. Players experience the same settings and stories no matter which of the game's eight character professions they choose; the only difference is how they go about surmounting the obstacles in their way.
Developer: Bluehole Studio
Platforms: PC
Released: May 1
Type of game: Massively Multiplayer Online Role-Playing Game
What I played: Played one character to level 50, four characters to level 35, and enjoyed several other alts. Check out our Tera MMO logs for details.
Two Things I Loved
Two Things I Hated
Made-to-Order Back-of-Box Quotes
By all rights I should be completely bored after progressing five characters to at least mid-level. I should be dreading coming across familiar territory, revisiting areas I've come to know by heart. That would certainly be the case in any other MMO.
Yet in Tera I find myself eagerly anticipating these familiar lands. I know which enemies I'll face. I know what quests are in store. I know which dungeons lie at the end of each area. The only real variable is the profession I am playing. It's more than enough.
While other games in the genre happily differentiate player character classes by different hot-keyed powers, each of Tera's classes is completely different, demanding the player master new strategies and skills in order to survive. Heavily armored Lancers stand toe-to-toe with the enemy, shields raised in defiance. Archers dance about their targets, stunning and slowing with special attacks and traps, luring them close, kicking them in the face, and then leaping away with explosive force. Warriors dodge and weave around the enemy, trading armor for an uncanny ability to avoid blows.
This wonderful diversity is the hallmark of Tera's 'True Action Combat'. Instead of a mouse cursor, the player gets a targeting reticule. Instead of enemy skills automatically landing, they need to be specifically targeted in the correct direction. Even magic-using classes have to pay attention to the direction their spells are being cast.
The enemies players face utilize the same dynamic system, meaning an observant player that takes note of a creature's attack patterns can battle them all day long without taking a hit. An average player might stand and take damage. The skilled player in Tera utilizing all of the skills at his or her disposal is an impressive sight to see.
In fact, watching other players battle in Tera is almost as entertaining as battling on your own, making it a joy to repeat the sprawling dungeons and difficult quests that require a full party to complete. During one particular run through of one of the game's mid-level dungeons our entire party perished save for one particularly skilled warrior who managed to take an incredibly difficult boss from 50 percent health to near-death as we watched on in awe. Tera is ripe with moments like these.
So when I start a new character in the game, I am not dreaming of returning to the dark forests of Popilion or the sun-baked deserts of Tulufan; I'm too busy developing strategies for tearing through them with my latest living weapon.
If only the developers were as daring with the rest of Tera as they were with the combat system. It's all incredibly basic. The crafting system is your standard gather-and-combine system. The quests are overwhelmingly "kill X number if Y" in nature. The climbing system is novel, adding verticality to the game's exotic locations, but the lack of a descending option (climbing down equals falling) is more of a hassle than a blessing.
Developer Bluehole does mix things up a bit with Tera's political system, allowing guild leaders to run for Vanarch, a leadership position over the game's various areas. Once voted in, the Vanarch can use points earned through guild quests to raise and lower taxes and unlock convenient non-player character shops and trainers accessible to all that travel their land.
This political system promotes a strong community, but it has its downsides as well. There's an area on the Dragonfall server I play on, for instance, in which the appointed Vanarch stopped playing after being voted in. There are no trainers in this area, nor are there vendors selling specialty goods; it's a huge inconvenience for players. The Vanarch of that area will be voted out in the next election, but until then players have to deal with frustration that would not occur if not for this political process. Come to think of it, it's a bit like our process here in the United States.
It also bears noting that the political system can be easily manipulated by members of the press—the leader of my guild earned the most votes of any other candidate on any North American server.
If the rest of Tera were as unique and compelling as its combat system, then this would be a revolutionary massively multiplayer online role-playing game instead of just an incredibly solid and sexy one with an amazingly addictive feature.
Tera only does one thing that's decidedly different from other games in the MMO genre, but it's enough to keep me playing long after other games would have lost my interest. That's something to think about. If tweaking just one aspect of the stale MMO formula creates an experience this delightfully divergent, imagine what could be possible if we just threw the whole tired recipe out the window and started over?