“Imagine someone saying ‘We need you to make a trailer for our movie, but we've only got half of the sets and props ready…” says Tim Bevan de Lange, Creative Director at Realtime Nordic, a studio that makes, specifically, video game trailers. “...and we haven’t actually shot anything, so you’ll need to do that yourself. Some of the actors won't come out of their trailers. One of them will but if you shoot him from the front you realise he's got no eyes, but don't show the audience that. It's not intentional, he's getting them fixed. Also can you film it twice, for different streaming platforms? Make a really good version for Netflix and a slightly worse looking one for Quibi.”
Every so often a game trailer comes along that makes me think, hang on, that was bloody brilliant! I bet some people made that! Most recently it was Creative Assembly’s Immortal Empires trailer. Well, I’ve been digging around and I’m happy to report that yes, although I’m the first one to just see a trailer as an algorithm trying to snatch my coin purse away like a manure-encrusted Victorian ne’er-do-well, game trailers are> made by humans. They're often humans who do it as as specific job, either in-house at a developer or as an outside agency like Realtime Nordic. Enlightened and enthralled, I asked some of them about what went into the strange space that is making the trailers for your favourite games.
I can't remember if I've already banged on about what a terrible, unhelpful term "metroidvania" is, so let's skip past to say that Angel's Gear reminds me of the one Castlevania game I've ever played.
It's partly the tone: a compelling blend of gothic and biomechanical horror, with a 90s game boy goriness that's cartoony enough to feel colourful rather than repulsive. "Camp" isn't the right word, but a hint of melodrama gives the story severity without self-seriousness. I mean, within the first minute of the game, your soldier goes from a terrified Normandy-style amphibious assault on a fortified metal church to seeing their war made irrelevant when the moon explodes. The whole thing is kind of metal, to be honest.
The Resident Evil 4 remake is a mostly cool runner on desktops, and good news if you’re recently picked up a certain handheld PC in the sales: its Steam Deck performance is alright too. Maybe not to the battery-sipping, framerate-abundant extent of the very best Steam Deck games, but with the right settings, nu-Resi 4 can keep its burlap sacked head well above 30fps even in its most visually demanding scenes.
Unlike Liam, I started on the Resident Evil 4 remake without the roundhousing know-how of someone that repeatedly beat the 2005 original. Still, twelve maulings, three beheadings, and one chainsaw disembowelment later, I’ve got enough of a handle on Leon S. Kennedy’s disappointing Spanish holiday to help you get the most out of the new model’s PC performance. Including a guide to its best settings, which can especially help on lower-end rigs.
This year's Game Developers Choice and IGF Award ceremonies were really heartening stuff. Getting to see so many great developers have their games celebrated by their peers will always warm the old cockles, especially when we celebrated so many of them in our own RPS Advent Calendar at the end of last year. Well, I say 'see'. In truth, I was tucked away backstage at this year's IGF and GDC Awards, clutching my dictaphone with a single question in mind: if each winner had to give away their award to another game in their category, who would it be and why?
It's an idea Brendan (RPS in peace) came up with back in the primordial mists of 2018, and it was so good I just had to knick it and do it again. It might be cruel to wrench these awards away so soon after receiving them, but it's all in the name of spreading good vibes and extra shoutouts, I promise. So here are the games of the year 2022, according to the people who just won awards for games of the year 2022.
It's day one of PAX East and what better way to kick off our show coverage than highlighting a great indie game! We first came across Demonschool back at PAX West last year and have loved it ever since. It's a slick, tactical Persona-like where you play as a band of university students navigating school life by day and beating up ghosties and ghoulies by night.
I had a chat with Demonschool's Jenna Stoeber who talked me through what Demonschool is about, the game's many horror inspirations, and what spooky shinanigans players can expect. If the giant skeleton lad in the game's trailer and demo is anything to go by, we're in for a treat. You can watch the full interview by watching the video below:
If you've haven't yet, set your peepers on Demonschool's slick trailer to see what demon hunter Faye and her gang of misfits are up against. There's no concrete release date, but like Jenna said, Demonschool should be out sometime in 2023 with a playable demo available in May.
We've got plenty more interviews, demos, and highlights lined up for the rest of the week and you can find all our PAX East coverage by checking out our RPS@PAX tag.
Men Of War 2 doesn't do anything by half measures, as I discovered during a recent tussle with its online multiplayer modes. Whereas Relic's recently released Company Of Heroes 3 will let you pick from its four broad faction types in its WWII RTS battles, Men Of War 2 takes a much more granular view, offering up 14-15 different unit types for each of its three playable nations. That's a dizzying array of infantry, tank and artillery battalions to choose from, and that's before you account for all the individual nuances between its Soviet, USA and German army types. Throw in seven game modes across several different maps, and it's a veritable strategy smorgasbord to stuff your face into.
Crucially, though, everyone gets access to some sort of tank, which let's face it, is always going to be the MVP of any WW2 strategy game, and probably the sole reason why we're here in the first place. As Men Of War 2 heads into its first open multiplayer tech test on Steam today (running until March 27th), here's my full report of my mildly doomed multiplayer tankventures in its Combat, Front Line and Incursion modes.
This week on the Electronic Wireless Show podcast we bite off more than we can chew by trying to make sense of the timeline of the Studio ZA/UM firings, lawsuits, and alleged fraud/toxicity, an ongoing and complicate mess that, as of this week, shows no signs of ungoing. We kind of end up on an "who tf knows?" but do manage to boil it down into a cowboy metaphor that helps us get a grip on things.
We talk about all that stuff for so long that we end up overrunning and don't have time for A Good Day To Ware Hard, or Nate's Tower Of Jocularity - although he promises a titanic one next week. We do get in our what games we've been playing this week, and it's a varied selection.
Epic Games held their State Of Unreal presentation last night, where they talked about the new tech coming to Unreal Engine 5.2, unveiled Fortnite’s Creative 2.0 mode, and debuted new looks at upcoming UE5-developed games such as Senua’s Saga: Hellblade 2. The first hack-and-slashing adventure already had pretty lifelike faces, but the spooky sequel is taking things a step further with some frighteningly realistic tech.
The latest wave of gaming laptops has hit the (virtual) shelves, and it's now possible to pick up an RTX 4060 gaming laptop for just over a grand.
The Asus Tuf A15 is down to £1099 at Amazon, a great value for a machine that includes the aforementioned GPU rated up to a 140W TDP, a Ryzen 7735HS CPU, 16GB of DDR5 RAM, 512GB NVMe SSD, a 15-inch 1080p 144Hz IPS display and a 90Wh battery with fast charging.