Rockstar s first foray into the uneven world of virtual reality isn t a GTA spin-off, or a brand new game, but instead VR version of Rockstar and Team Bondi’s 2011 detective romp, L.A. Noire [official site]. While the current generation of consoles are getting the whole game with added 4K support and the like, over on PC we’re in for a trimmed-down version redone as a Vive exclusive. (more…)

Every Sunday, we reach deep into Rock, Paper, Shotgun’s 141-year history to pull out one of the best moments from the archive. This week, Adam’s 2012 article singing the praises of videogame cities which are more than mere reconstruction, but are built from the bricks and mortar of ideas.>

I’ve been visiting various cities recently, which always fill me with confusion and wonder, then Dishonored made me think about how much I miss Looking Glass. Put the two together and this happens. Join me in a meandering word-search for cohesion and theme in the use of the city across Thief, and the selected works of Rockstar and Charles Dickens. Be warned, there are spoilers for all three Thief games.

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Here’s something I never thought of when playing LA Noire. Whatever its other merits and failings, the stuff it does with facial animation and performance capture was amazing, and something the whole industry can benefit from presuming it’s not drowning in a thousand million unbreakable patents (which it probably is). However, all it was being used for was to, essentially, just achieve a slightly better version of something games and especially their cutscenes already did. We can find rehearsed, scripted dialogue and, to wildly varying degrees, attendant facial emotion and animation, all over the place. What we can’t find is naturalistic, unrehearsed performances – people being people, as opposed to be people being videogame characters. Take a look at this to see how big the difference can be. (more…)