The wait for Patty Jenkin's Wonder Woman follow-up, Wonder Woman 1984, has been considerably longer than anticipated, given the movie's delay from a release this year to June of 2020. But the good news is the light at the end of the tunnel is fast approaching. Warner Bros. has announced its plans for a special showcase presentation at Brazil's Comic-Con Experience or CCXP on December 8 where the film's first trailer will be shared.
The special presentation will also feature a Q&A, presumably with Wonder Woman 1984's cast like Patty Jenkins, Gal Gadot, and Chris Pine, as well as other "big surprises," so start revving your theory-building engines now. For those unable to make the trip to São Paulo this December, the event will be livestreamed on Twitter under the @WonderWomanMovie as well as the @TwitterMovies usernames.
Wonder Woman 1984 hits theaters on June 5, 2020.
One of the founders of Devolver Digital, the boutique publisher behind games like Hotline Miami and Genital Jousting, is eager to see Sony and Microsoft launch their next-generation platforms. Speaking to GameSpot at PAX Australia, Graeme Struthers said he's excited about the launch of the PlayStation 5 and Xbox Project Scarlett in 2020 in part because those systems are expected to be attractive to all developers big and small.
This wasn't always the case, as Struthers--who has been with the company since he co-founded it in 2009---pointed out that the PS3/Xbox 360 generation wasn't the most inviting for indie developers.
"It's great," Struthers said of the upcoming release of the PS5 and next Xbox. "The previous generation, the one we're coming to the end of, was the one for companies like ourselves--we were allowed in. Previously it was pretty hard to be on PS3 and Xbox 360. For next-gen, we're in at the start. given the same opportunities as anybody else, which is great."
Final Fantasy XIV: Shadowbringers was released in mid-2019 to an almost unanimous standing ovation from the community and critics alike. One of the strengths of this expansion is its reverence for the stories that have been told in installments past. However, it tells these tales not through the sweeping statements about morality and the nature of war that veteran players might be used to, but rather through a focus on well-known characters within the game as well as their relationships to the world around them and each other.
Natsuko Ishikawa, the lead main scenario writer for Shadowbringers, and Takeo Suzuki, art team lead, are some of the minds who were responsible for reframing established character narratives and refining familiar systems in order to carry out the above. The design philosophies adopted by their respective departments have been instrumental in allowing this expansion to have delivered what is arguably the game’s most engaging content to date. GameSpot spoke to both Suzuki and Ishikawa to gain some insight into their process.
Humankind is the latest project from the minds behind the Endless franchise, a hit in the 4X (Explore, Expand, Exploit, and Exterminate) and turn-based strategy markets. Endless Legend in particular, which arguably put developer Amplitude on the map, told an entirely original tale rife with politicking and questions about the conception of freedom and humanity. The strategy-patterned chariot of the gameplay fed into those themes, with its branching narrative quests that touched on probing questions dealing with survival, religion, and the things that divide cultures and colonies.
Amplitude’s latest is ambitious in the way that it seeks to do the same thing, though the lessons it seeks to impart are less divorced from our own realities. Humankind is, quite literally, a choose-your-own-adventure look at the “glorious trajectory of human history,” according to the narrative director, Jeff Spock. The premise of the game is fairly straightforward. Featuring more of the 4X sensibilities that drove the studio’s previous titles, Humankind’s focus is no longer based in fantasy, as Endless Legend was, but on our real-world legacies.
The Elder Scrolls Online launched on PC in 2014, but the release wasn't as smooth or as successful as developer ZeniMax Online Studios might have wanted. Just a year after release, ZeniMax announced that the game would drop its mandatory subscription requirement and launch a console version to help turn things around.
It worked. The game is in a much better place today, with a reported 13.5 million people signing up to play the game to date. Creative director Rich Lambert, who has worked on the game for 12 years, said in an appearance in the GameSpot Theatre today at PAX Aus that ZeniMax is planning to continue supporting ESO for a long time.
Speaking during a panel regarding the games-as-a-service model, Lambert said change is "core" to the experience of a games-as-a-service title. "With single-player games, you release a game and essentially you're done," Lambert said. But with an MMO like ESO, continuing to support and update the game and support and embrace the community is paramount to finding success.
CD Projekt Red's Cyberpunk 2077 is one of 2020's most-anticipated games, and it came to PAX Australia this week in a big way for its first public showing in the country. On PAX Aus Day 1, CD Projekt Red filled the Melbourne Convention Centre's biggest theatre with excited fans who got the special treat of seeing nearly an hour's worth of gameplay footage that showed off more of Night City and a number of new abilities.
Also in Melbourne for PAX was CD Projekt Red's John Mamais, the head of the company's Krakow office. The studio is creating about one-third of the content for Cyberpunk 2077, while it also developed the game's new cutscene technology and other aspects of the title. GameSpot spoke with Mamais--who has been with CDPR since 2011 when he was a producer on The Witcher 2--and he told us more about local issues like potential censorship from Australia's Classification Board, mutiplayer support for Cyberpunk 2077, and the possibility of a Nintendo Switch port.
In terms of potential censorship of Cyberpunk 2077 in Australia, Mamais said he does not think the game will have any issues clearing the local Classification board like other titles, including South Park: The Stick of Truth, have in the past.
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If you're fortunate enough to have a barcade in your neck of the woods, you have probably seen it: a huge, imposing pair of arcade cabinets with "Killer Queen" emblazoned on the marquee in blue and gold. Maybe you've even seen or played a versus session, with five players gathered around each screen attempting to work together and clutch sweet, sweet victory. Killer Queen is ideal for arcades, it's a unique game built around the camaraderie of being together in a public space--a vibe that's difficult to translate to the often solitary online experience PCs and consoles offer.
Enter Killer Queen Black, the first appearance of Killer Queen beyond the dimly-lit neon lights of modern social arcades. While it isn't a 1:1 port of the arcade original, Killer Queen Black nonetheless delivers a tremendously fun and engaging multiplayer experience, whether you're playing with a bunch of friends at home or joining in random battles online.
It's important to realize that Killer Queen in any form is, fundamentally, a multiplayer experience. That means that if you don't plan to play with local friends or take the game online, there is little that it will offer you beyond a brief tutorial mode and the ability to play with CPU-controlled teammates and enemies. But when you do get a party started, Killer Queen Black realizes its full fun and frenetic potential.
Blizzard recently found itself embroiled in controversy when it banned a professional Hearthstone player and rescinded his thousands of dollars in prize money after they expressed support for the Hong Kong protests in China.
The player, blitzchung, made his statement during a victory interview--and this was in violation of "rules he acknowledged and understood, and this is why we took action," Blizzard's president J. Allen Brack said in a statement.
Brack went on to say its decision was not driven by its relationship with its partners in China. "The specific views expressed by blitzchung were NOT a factor in the decision we made. I want to be clear: our relationships in China had no influence on our decision," Brack said.
Dragon Age lead franchise writer David Gaider is making a new and intriguing-looking musical adventure game Chorus. As it turns out, the veteran game developer--who left BioWare years ago--has been thinking about making a musical game for a long time.
In an appearance at the GameSpot Theatre today at PAX Aus about his new game and studio, Gaider said he in fact pitched musical DLC for Dragon Age during his time at BioWare. The musical Dragon Age DLC could have taken place inside the metaphysical Dragon Age realm called The Fade, he said. It was a semi-serious, semi-joking pitch, Gaider said, but whatever the case, it never happened.
Gaider is now getting to realize that dream. His new game, Chorus, is a musical adventure game where they big story beats play out through song. Gaider is working on Chorus with Summerfall managing director Liam Esler (former Obsidian, Beamdog developer), while prolific voice actress Laura Bailey (Uncharted, Gears of War) is voicing the main character.
Contrary to popular belief, professional wrestling wasn't always scripted or predetermined. Over a century ago, it was still "real." Two men would get in a ring and have a legitimate athletic contest with a winner and a loser.
The shenanigans came later, when the promoters realized that by fixing all the matches, they could ensure that they promoted the most reliable, talented, and charismatic performers in their stable. And over time, this match fixing evolved into the current-day kayfabe we see today, with its larger-than-life characters and theatrical presentation.
But as unrealistic as modern professional wrestling can often seem, the core idea behind it remains the same: that when you book the matches and you book and how they end, it should be a near-guarantee that the audience will go home happy. And that's why it's impossible to view the main event of 2019's WWE Hell in a Cell as anything other than a massive failure, on multiple levels.