Star Wars Battlefront

As with many games when they’re first released, I was in love with Star Wars Battlefront at launch. Beautiful graphics, compelling game modes, and exciting action were everything I had hoped for since the beta. Unfortunately, now that I’ve spent some time in the game, I’ve found that I’m falling out of love with Star Wars Battlefront, and here’s why.

First and foremost, the spawns in Star Wars Battlefront are absolutely atrocious. This is something I hope EA and DICE are working on right now because it needs to be fixed ASAP. It seems everyone now knows exactly where the enemy will spawn, making it super easy to spawn trap players and go on crazy killstreaks. While this may seem fun for those who are doing it, it seriously kills any enjoyment for those who are getting killed over and over as soon as they spawn.

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Now I know many gamers will say it’s EA and DICE’s fault, and players shouldn’t be blamed for taking advantage of an exploit in the game, and I agree. It is the fault of EA and DICE and I hope they make a quick adjustment. But when players milk those issues for their own gain, it makes the game incredibly unfair for everyone else, and ruins the experience.

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Next up is the explosive spam that happens in the game. Unlike other first-person shooters that only give players one or two grenades, Star Wars Battlefront lets players have an endless number of grenades. All players need to do is throw a grenade, wait around a corner for 15 seconds for the explosive to cool down, and throw again. When five or more players are together and taking turns throwing grenades, there’s an endless number of explosives that come your way and make it very hard to enjoy the game. Couple this with the spawn trapping, and it’s a recipe for frustration and rage quitting.

Another thing that’s started to suck about Star Wars Battlefront is the lack of people playing the objective. Most of the game modes in Star Wars Battlefront are objective based, and require teams to work together to win. Unfortunately, many players treat Star Wars Battlefront like Call of Duty and spend their time running around trying to get a high kill/death ratio, rather than trying to win the game. This is a massive turn-off for gamers like me who like working together with teams to achieve the goal of the match and win. But that’s hard to do when no one is interested in playing the objective.

Finally, the lack of weapon customization has gotten to me. When I first started playing Star Wars Battlefront, I didn’t mind the fact that we couldn’t customize weapons with sights and attachments like in other shooters. But after spending a couple dozen hours in the game, I’m bored of the weapons. And without any way of customizing them, there’s not much I can do to combat that boredom. It also means pretty much every player in the game is using the same two or three overpowered weapons, and neglecting every other blaster in the game.
Sure, EA and DICE could try to better balance the weapons, but if they do that, what’s the point of having multiple weapons? Having weapon attachments allows players to use a myriad of weapons because they can change the ways those weapons act with customization. Maybe we’ll get lucky and the developers will start adding weapon attachments in DLCs or updates.

Ultimately, what started as a wonderful love affair has turned to a sad and pathetic separation. I’m falling out of love with Star Wars Battlefront, and I’m not sure there’s much that can bring me back. Which is really too bad, since I had high hopes for this game. Hopefully EA and DICE are hard at work on the next Battlefield and I can have my dreams revived for another great, team-based shooter.

What do y’all think? Do you agree with my assessment, or do you still think Star Wars Battlefront is amazing? I’d love to hear your perspective in the comments

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The Witcher 3

Looking back over my last 60 hours with The Witcher 3, I feel a bit like its wandering protagonist: A very attractive man standing alone on a hilltop, looking out over a vast kingdom, unsure where to begin.

Just kidding; I look like garbage right now. I’ve spent the last week and a half mostly shut in my apartment, blinds drawn, headphones on, eating potato chips and staring at my television. Over something like five dozen hours, I’ve killed countless monsters, saved scores of villagers, shagged a sorceress or two, and finally watched the credits roll. I’ve seen a fair chunk of The Witcher 3, but I’ve also left a substantial amount of it unexplored.

The Witcher 3: Wild Hunt is an open-world role-playing game that casts you as a legendary and sexy monster hunter named Geralt of Rivia. You spend most of the game guiding Geralt as he explores a collection of massive open outdoor areas, taking on quests, slaying monsters, talking with people, making difficult moral choices, and gradually leveling up his gear and abilities. Basically, doing the whole RPG thing.

Let’s start by getting my recommendation out of the way. Should you play this game?

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he Witcher 3 is a wholesale improvement over the already-good Witcher 2, combining the free-roaming exploration of Red Dead Redemption with the complex branching storytelling of a Dragon Age and the tightly designed melee combat of a Monster Hunter or a Dark Souls. It doesn’t always execute those things as well as the games from which it draws inspiration, but thanks to some sharp writing, smart design, and marvelous technical wizardry, Wild Hunt is engrossing despite—and even occasionally thanks to—its many familiar elements.

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Wild Hunt was developed by Polish video game studio CD Projekt Red. Like the first two Witcher games, it’s based on the works of Polish fantasy author Andrzej Sapkowski, though it uses his books as a springboard for its own tale, rather than directly adapting them. Think of it as fairly standard dark fantasy mixed with a healthy dose of grim Eastern European fairy tale. There are dragons and mages and elves and dwarves, right along with witches who lure children into the wilds and mischievous grubkins who haunt houses and torment people’s dreams.

The resulting milieu has a dash more personality than your average fantasy video game—there’s a reason the Polish Prime Minister gave President Obama a copy of the second Witcher game as a gift. If gaming’s fantasy genre at times resembles a collection of chain restaurants, The Witcher is an unexpected serving of local cuisine.

Geralt is a Witcher, one of a now-defunct line of genetically-mutated warriors originally created to hunt and kill the beasts that infest the world. (The world, in this case, is known simply as “The Continent.”) At the start of the game, a great southern empire called Nilfgaard is steamrolling its way northward, conquering or killing everyone in their path. The conflict mostly serves as the backdrop for a more personal story, as the Nilfgaardian emperor summons Geralt and charges him with tracking down a young woman named Ciri—née Cirilla Fiona Elen Riannon—the emperor’s daughter and heir. Ciri was last seen somewhere beyond the Nilfgaardian lines, in the Northern Kingdoms that continue to fight for independence.

Geralt’s task is immediately complicated by several factors: 1) That Ciri possesses some immense but little-understood cosmic power; 2) that for reasons unknown, Ciri is being pursued by an unstoppable interdimensional attack squad known as The Wild Hunt; 3) that the sorceress the emperor has enlisted to aid Geralt in his quest is Geralt’s own lost love Yennefer; and most of all 4) that Geralt raised and trained Ciri himself, and thinks of her as his own adopted daughter.

From there, Wild Hunt races outward toward all points of the compass. The resulting tale is remarkably dense and far-reaching, sweeping up dozens of characters across several warring nations, all while straining admirably to resolve numerous lingering plot threads from the first two Witcher games while maintaining focus on the father and daughter at its emotional core. No story could accomplish so much with perfect grace, but I was surprised by how close Wild Hunt came, and how often.

Despite its grand scope and substantial cast of characters, Wild Hunt is a lonesome game. Geralt is an aging member of a dying race; he’s an outcast from society and a warrior without a master. In this, he embodies the complementary and familiar archetypes of the wandering ronin of Japanese fiction and the lone gunslinger of wild west cinema

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Wild Hunt’s geographical size is impressive on its own—this game is much larger than previous bragging-rights-holders like Skyrim and Grand Theft Auto V, and it feels it. That immense size doesn’t just exist for its own sake; it serves an important function in the game’s overall design and effect. Wild Hunt conjures the illusion of an actual kingdom full of actual villages populated by actual people, and through sheer size effectively conveys the feeling of wandering an endless wilderness.

Each of the game’s many small villages offers something new; a man will flag you down, asking for help dealing with a beast that’s been killing his livestock. Or maybe a merchant’s wagon will have gone missing and she’ll offer Geralt some coin to track it down. Perhaps one village will have a message board covered with notes left by the villagers: Please stop stealing milk from my cows; has anyone seen my lost hat; can someone help out with the bog wraith that keeps killing people? The villages all start to blend together, effectively conveying the feeling of a war-torn kingdom full of shitty little villages populated with desperate people.

Through all of that, Geralt rides alone. He enters each new village or encampment atop his horse, and every time, the moment feels iconic. Here is the lone swordfighter, the mysterious stranger, coming to bring justice. Witchers are reviled by most common folk, viewed as mutated abominations. Passersby will spit on you as you pass or call you names once your back is turned. Over time, those you have helped will call out to you as well—you may pass through a village and hear someone thanking you again for your help—but by and large, the message is clear: These people do not love you. They may need your help, but they do not want it. You will never belong.

Sonic the hedgehog 2006

If there’s an award for Most Ruined Video Game Franchise, Sonic the Hedgehog might just take the cake. The Sonic franchise isn’t bad just because of all the meaningless, cardboard cut-out characters that sport the mental capacity of a wet mop. It’s not just bad because of the endless stream of sequels that have struggled and gasped for relevance in a time where sassy video game mascots just don’t sell video games like they used to.

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The fact is that Sonic the Hedgehog as a series has suffered in so many immeasurable ways. And while some may argue this drop in quality may have begun with the Sonic Adventure entries on the Sega Dreamcast, those games were, for their time, still respectable, if not in some ways very bold.

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The 2006 reboot is really where the well got poisoned. It features creepy hedgehog-to-human relationships, horrifying controls, and abominable characters. And that’s just the start of a terrifying spiral into the insanity that is that game. Every minute played makes a gamer question how it possibly made it out the door, and on two brand new platforms (Xbox 360 and PlayStation 3) no less.

No Sonic game (except the arguably enjoyable Colors and Generations) has been worth writing hom

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Why I can’t stop stealing in Fallout 4

Seems to be growing well,” I tell the malnourished farmhands before ripping their gourds from the ground and stuffing them down my trousers. Strangely, they’re cool with this, so I try selling the grotty vegetables back to them to see what happens. They buy them. They actually buy back the gourds they saw me steal. Fallout 4 ’s wasteland is my own personal pick ‘n’ mix.

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A kidnapped baby isn’t the driving force behind my exploits in this nuclear-ravaged world. No, my primary motivation is building an increasingly epic looter’s paradise loaded with disco balls and pictures of kittens and musical pressure pads that play La Cucaracha badly when you walk on them. The boy comes second after I finish my dance floor, which is probably never, and the whole ‘avenging my dead wife’ thing is third I guess.

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So, pockets unfeasibly loaded with corn and melons and something called ‘tatos’ which are a mutated tomato/ potato hybrid that sadly does not work well in song (“You say tato, and I… also say tato”), I travel to Sanctuary. The quaint neighbourhood I lived in before being frozen for 200 years is still standing, and despite peeling paint on the houses and the cars outside them turning to rusted husks, it’s a home I’m committed to rebuilding. My every second exploring the Commonwealth is spent looking for shiny items like a massive featherless magpie, a magpie with opposable thumbs who can fashion those objects into something cool. A magpie on a mission.

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A guard in Diamond City strikes up a conversation but I ignore him and focus on scanning the background for umbrellas and spatulas. I walk through majestic environments staring entirely at the floor. I make a beeline for a broken mop in a super-mutant’s lair because I need its precious cloth and that futon won’t make itself. Old newspapers and ashtrays and duct tape and desk fans are the new gold (the old gold, gold, is fairly useless).

My routine involves loading up with lightbulbs and hotplates and teddy bears until I can’t carry any more, giving another ton of junk to my begrudging pack mule of a companion, then hotfooting it back to base after every mission to empty my stash. I imagine typewriters and paintbrushes and battered books streaming from pockets en route like a crappy breadcrumb trail made from sheer garbage.

 

I can do a lot with these materials, though, like scandalously shredding an American flag and using its material to make a doormat, mounting stuffed animal parts on the walls of my bedroom, scrapping plungers and pencils and using their wood to build a fence around my most annoying settler who keeps asking me for drugs, and harvesting copper from telephones to wire up my electricity pylons and creating a promotional radio station that broadcasts a humblebrag across the Commonwealth. My ultimate aim is collecting enough human bones to make a pool I can swim in like a detestable Scrooge McDuck.

My every action in Fallout 4 is taken with homestead expansion in mind, and as such it’s spoiled other games for me. I don’t want to play something in which filling my clown-car pockets with alarm clocks and spatulas isn’t handsomely rewarded. I’d steal you if I could.

Fallout 4

he Commonwealth in Fallout 4 is a sprawling wasteland, full of fascinating places to explore and interesting people to meet and possibly kill, depending on how much you like what they’re wearing. Because it’s a huge game, players could take months to fully explore every nook and cranny that it has to offer. While the main quests take you through a lot of the bigger settlements and points of interest in Fallout 4, we’re willing to bet that there are more than a few radioactive stones that you’ve left unturned. With that in mind, here are a few choice locations off the beaten (and bombed) path in order to provide you with some fun distractions. Just pray that no Deathclaws wander into these areas.
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The parking garage dungeon/maze is located next to Milton General Hospital. Should you choose to venture into this labyrinthine structure, be warned that it’s a pretty long maze full of puzzles, so you should definitely save your game before heading into the building. But for those of you with enough gumption (and what we assume is a large supply of Stimpaks and ammo), there are locked-door puzzles, creepy mannequins, and traps aplenty waiting for you inside. The general vibe in the garage is like that of the Dunwich Building in Fallout 3. If that name rings a bell to you, then you’ve 
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The rocket shed
Killing Deathclaws and fending off raiders is hard work, so we figure you could use a little something to help you unwind. What better way to let off some steam than by sending a bunch of propane tanks screaming into the horizon before exploding? Located northeast of Relay Tower 0BB-915, the rocket shed is a dinky little shack built on a cliff.
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No one knows who built the damn thing, but it’s safe to say that they were really into seeing stuff blow up. There are mini ramps facing out towards the wasteland on which you can prop the many tanks in the shed, so all you have to do is set them, shoot them, and then watch them go rocketing off in the distance, hopefully taking out a few Super Mutants when they go boom.

God of war III

God of War can be seen as one of the greatest action games of all time. Although the game was re-released many times on PS3 with different versions, God of War Collections date back more next version first – God of War 2 on PS Vita console.
For those who have only been playing God of War and God of War 3, this really is a great opportunity for them to be able to experience God of War 2 anytime, anywhere with the convenience of PS Vita.
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In the second edition was published before, there is no change to the original on PS3. The only difference from the touchpad, there will be “a light vibration” when implementing the actions of the characters and the “tight guillotine”. This really is necessary and acts as an activation key parts in the game.
This function key is used to lift the gate, open the chest and pulling the lever … but it seems a little too “sensitive” should occasionally players will accidentally activate something that they do not know. When you just try to pull a lever to open a gate that automatically pull it back, and it seemed only a matter exists in God of War on the PS Vita Collections.
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Frankly, it can complain about God of War on the PS Vita Collections is it still too tempting even for now. When Gow was released on PS Vita, try to imagine that you can unleash “tight guillotine” anywhere on earth at any given time. At school on the break, just a blanket on the bed off the screen to play a few more before bed, or when too much pressure to bear and PS Vita can pull out immediately play just one seat.
Attractiveness of Gow makes you feel any better no game is and just plays over and over forever. Stories of Kratos still too attracted to the players, and apparently they still want him to have a long-term adventure.
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If you buy the God of War Collection for PS Vita, you’ll get more for the PS3 version. Similarly, if you buy the PS3 version, you will be added to the PS Vita version.
It is difficult to assess the improvement in graphics Colletions Gow. The image is still sharp detail shown on the screen of the PS Vita small. Frame still “smooth” as the play on the PS3 even in action scenes more. But it’s still just an old game and can not be compared with carrying out the graphics of the game for Sony’s latest handheld models.
If you are a fan of Gow, of Greek mythology, of Kratos, God of War Collections – mobile version of the PS Vita Gow on is a worthwhile investment. If you were “clearing” too many times and it has become too easy, God of War Collections not really for you.

Allsion road

Forget Konami. We have Allison Road, a new horror game that is heavily inspired by the Silent Hills demo.

Here’s how the developers describe it—the game sounds like a mix betweenSilent Hills and Five Nights at Freddy’s, weirdly enough:

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You will take on the role of the unnamed protagonist who wakes up one day without any recollection of prior events.

Over the course of five nights, it is your objective to uncover the whereabouts of your family, unravel the mysteries of the house, and face off against [dark entities] that are nested deep within the house, while the clock is relentlessly ticking towards 3:00am.

What would you do if you could feel something stalking you in the dark in the safety of your own home?

If you couldn’t tell what’s real and what’s not?
Best of all, you can see Allison Road in action right now. Here are 13 minutes of straight gameplay:

 

The influences are probably obvious. Allison Road takes great care in rendering an actual house, which means photorealism, along with attention to detail when it comes to even the smallest domestic minutia. It’s an aesthetic Silent Hills nailed so well that just walking around in this new house is automatically kind of scary. You know there’s more here than meets the eye. But what?

Some notable things from the gameplay clip…

Allison Road wears its inspiration on its sleeve. Here’s an item with the phrase “dad was such a drag” scribbled on it, something which is said in P.T:

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The environments look stunning:

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Though it’s obvious SOMEthing is going on in this house…

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