Month: February 2020

Spiritfarer is shaping up to be a colorful and whimsical take on death, and the game’s new teaser trailer shows off the jobs you’ll be doing as a ferrymaster for deceased souls. Managing the dead isn’t easy, and there are quite a few moving parts to keep under control.

In the gameplay teaser, we see protagonist Stella cut down a tree with the help of the spirit cat Daffodil, and later mine for ore that is used to power the ferry. She can also shear sheep, buy items, and harvest crops, and she can feed townspeople in order to strengthen relationships. Despite the macabre central theme, it’s still a lighthearted game with kindness at its core.

Flipping the sadness surrounding death into something positive makes Spiritfarer unique, and according to creative director Nicolas Guérin, it was about accepting your own emotions. Back in December, Guérin told GameSpot that Spirifarer aims to show that death is normal, as are feelings of grief after losing someone.

The colorful visuals help with this, as do moments when Stella finally has to leave her deceased friends. At this point, only their memory will survive.

It’s a far cry from Sundered, developer Thunder Lotus Games’ previous project. The Metroidvania game featured violence and downright disturbing bosses.

Spiritfarer releases this year for Xbox One, PS4, Nintendo Switch, and PC, and it will be available through Xbox Game Pass. It’s playable cooperatively, with one player controlling Stella while the other controls her cat Daffodil.

Turn-based tactics games aren’t always eye-catching, but Othercide, from developer Lightbulb Crew, instantly grabbed my attention with its bold and moody art style. Just look at this game: the red highlights against the weird and perpetually rainy monochrome world certainly sets a striking mood. And with some high-stakes rogue-lite ideas behind it, learning the ropes in the first few hours has been interesting and challenging.

The story is extremely cryptic and to be honest, I don’t have a clue what’s going on yet. I do know that the nightmarish Other is invading your world, and your squad of Daughters has monsters to kill. The turn-based tactical battles play out on relatively small maps until you almost inevitably lose and start again with some new unlocks, called Remembrances, that will help you survive longer and go farther next time. Such is the way of the rogue-lite.

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Unlike XCOM or other rigidly ordered “I go, you go” turn-based games, Othercide’s turns are governed by the timeline at the bottom of the screen. It shows you who will move next based on each character’s initiative stat, which means there are no surprises and no guesswork in the tactical puzzles each level presents you with. And if you don’t like that an enemy character gets to move before yours and you can’t quite kill them outright, certain moves, such as a shield slam, can stun them and knock them back a ways, or certain buffs can skip a friendly character ahead in line.

On top of that, if you use more than 50% of a character’s 100 action points in a turn it means that Daughter has overexerted herself and requires twice as long on the timeline before she can move again. That’s a major tactical consideration that forces you to think ahead about when you can afford to extend yourself and when you can’t.

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Real mortal tension is created by the fact that there’s only one way to heal anybody, and you won’t like it. When one of your Daughters is wounded, must sacrifice another team member’s life to restore them. That means that abilities like the overwatch-style interrupt shot from the Soulslinger comes with a major cost: while it can spare your team from taking a high-damage hit from an enemy, you have to spend 40 hitpoints to use it, and that can add up with such a useful ability. Eventually your Soulslinger wastes away… unless you feed someone to her.

Othercide’s monster design is very creepy, too, especially these impish scavenger creatures who come at you in groups. And when their bigger, beefier brothers show up it’s time to panic a little.

Assuming you survive, at the end of each mission you’re rewarded with some currency that can be used to create new Daughters, among other things, and Memories, which are effectively gems that can be slotted into individual characters’ abilities to increase damage or boost other effects.

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The first boss fight ended my first couple of runs. The Surgeon is a tricky nut to crack, since my level 3 and 4 characters have had trouble swatting his minions as quickly as he summons them, and you can’t damage him until they’re all dead. But once I do, I’ll unlock a Remembrance that makes all my Daughters start at level 4, which will let me use advanced attacks in the first few missions.

Of course, Othercide’s rogue-lite approach that sends you back to square one with a fresh squad means it’ll need some good variety in these early missions to keep it from becoming repetitive. We’ll see how it fares when it’s out on PC sometime later in 2020.

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Dan Stapleton is IGN’s Reviews Editor. You can follow him on Twitter to hear gaming rants and lots of random Simpsons references.

Man oh (mega) man do I love this collection. Its six excellent Mega Man spin-off games bring with them exactly the kind of gameplay and story my body craves and I’m thrilled at how well they hold up and stand on their own. But it’s the extras, including a new competitive mode with online leaderboards, that really seals the deal.

Mega Man and Mega Man X are some of my favorite series in all of gaming, but I slept on the Mega Man Zero series when it came to Game Boy Advance starting in 2002 and first realized what I was missing when the Zero Collection came out on DS in 2010. The Mega Man Zero/ZX Legacy Collection for Nintendo Switch, PS4, Xbox One, and Steam is even better, because it brings all four of the original Mega Man Zero GBA games and both DS games into one convenient package. They’re wonderful.

If you’re not familiar with the plot of the Mega Man Zero series, here’s a quick rundown: 100 years after the events of the Mega Man X series, legendary warrior Zero is reactivated to help fight in the war between humans and Reploids, a race of human-like robots based on the original Mega Man X.

Mega Man ZX and Advent are set even further in the future, in the year 25XX, when humans and Reploids exist in harmony… until the revival of the Mavericks. Throughout the entire series there’s a lot of talk of cyber-elves and Neo Arcadia, Bio-Metals, Reploids, E-Crystals, sacrifice, and betrayal… in other words, it rules pretty hard. It’s exactly the kind of corny, jargon-heavy anime storyline I love in my video games. Unfortunately dialogue is largely unskippable, which can be real annoying when you’re trying to beat a boss.

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The gameplay itself follows the Mega Man Zero formula, and on Switch it feels great in both handheld mode and on my TV. Holding down the R-button to fire the alternate weapon on the Joy-Con doesn’t feel the best, but the Pro Controller is a much better fit. You can remap the controls to fit your preferred playstyle, which is a welcome option.

None of these old-school platformers are easy, but to help remedy any of the frustration Capcom has added two new options to ease the sting of repeated failure. Save-Assist drops save locations at key points in the levels, meaning you can lose to a boss and start right back up again from the nearest save point instead of starting the whole level over like back in the day. These aren’t save states, though, so they still require a certain amount of raw skill if you want to make it through the levels.

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There’s also a “casual mode” which removes the threat of instant-death from spikes and pits and beefs up your character and weapons. Casual mode has to be set at the beginning of a game, so you need to be committed to your choice: you can’t switch back and forth between normal and casual modes. I have no problem admitting I played with the Save-Assist mode turned on, but only tried out Casual Mode for the purposes of this review. I have my pride.

On modern displays, the Zero/ZX series’ pixel art graphics are absolutely beautiful. There are three different filters to choose from: a “soft” filter blurring the pixels a bit, “no filter,” showing off every pixel in its full, razor-sharp crispness, and a filter that makes the graphics look like they’re on a GBA or DS screen. That last one puts a very subtle, but noticeable, static effect on the screen, giving it just a hint of old-school grittiness inherent in earlier handheld displays. It’s far and away my preferred way to play.

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Apart from the filters, there are different screen layouts you can choose from, the number of which differs whether you’re playing Mega Man Zero or ZX games. The ZX games, originally released on DS, have several layout options for the DS’ second screen, but there’s no portrait mode for use on the Switch, which is a massive bummer. The two DS games would benefit enormously from compatibility with something like the Flip Grip, a $12 plastic device that allows you to hold the Switch sideways. Tons of other retro games on Switch support the vertical orientation, including individual games on collections like the SNK 40th Anniversary and SEGA Ages. Capcom, if you’re reading this, please patch in a vertical orientation for ZX and ZX Advent in handheld mode!

There are also loads of wallpapers to choose from, and I didn’t find a bad one in the bunch, to be honest. The Zero/ZX art style is a personal favorite, so I found myself swapping out wallpapers fairly regularly just to enjoy a change of scenery.

When a collection has games as strong as these, it lives or dies by the quality of its extra content, and I’m happy to say Mega Man Zero/ZX Legacy Collection does… a decent job. My one gripe is it plays it pretty safe: it has exactly the kind of bonus content you’ve come to expect at this point, and only scratches the surface of the series’ history. I would love to see more in-depth bonus features delving into the series’ development.

There is a massive gallery of art for all six games, with high-resolution images available to scroll through and enjoy. There are also bonus cards you unlock through playing, and you can activate them to unlock extras in the games themselves. For example, turning on some of the earlier bonus cards adds plants, paintings, and other touches to the Resistance Base in Mega Man Zero 3. It’s a cool cosmetic touch I didn’t expect, and with 100 unlockable cards there are many more secrets I haven’t unlocked.

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On top of the bonus art, the soundtracks for every single game are accessible from the main menu right from the start, so you can cycle through your favorites (my absolute favorite is Departure from Mega Man Zero 2, followed by Green Grass Gradation from Mega Man ZX).

The new Z-Chaser mode is a competitive speed-running mode with online leaderboards. It’s really well done, with the ability to choose your “ghost” from a selection of other, actual players who’ve set records and compete against them for glory. If you’d rather compete locally, Z-Chaser has a head-to-head mode, too. Even though I’m not into competitive speedrunning at all, I did find myself enjoying running Mega Man Zero levels against the ghost of an online stranger.

Last year, IGN visited the set of Altered Carbon Season 2 as part of an exclusive IGN Premiere first look at the Netflix show’s much-anticipated return. We’ll be rolling out a series of exclusive sneak peeks for Season 2 this week, so keep it locked right here for never-before-seen interviews and behind the scenes footage of Anthony Mackie as Takeshi Kovacs, Chris Conner as Poe, and Renée Elise Goldsberry as Quellcrist Falconer. And be sure to check out Altered Carbon Season 2 when it premieres on Netflix on Thursday, February 27, 2020. Be sure to check out our spoiler-free review of Altered Carbon Season 2. 

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One of the biggest questions we had after the Season 1 finale of Altered Carbon was who is going to play the next Takeshi Kovacs, since we knew Joel Kinnaman was leaving the role? Now that we know Takeshi is rocking a brand-new Anthony Mackie sleeve, what does that mean for the character in Season 2? Sure, Takeshi is still Takeshi inside of that cortical stack of his, but every actor who has played him, (Joel Kinnaman, Will Yun Lee, and Byron Mann) so far, has brought a different kind of swagger to the role.

What Makes Anthony Mackie’s Takeshi Kovacs Special in Season 2?

IGN traveled to Vancouver, British Columbia to visit the set in order to learn more about what makes Mackie’s Kovacs different from the other iterations of the character. At first, Mackie jokingly said, “Well, he’s black,” but then thought on it for a while. “It’s interesting because he is different,” Mackie told IGN. “His level of intrigue, his passion, his desires. In the first season, [Takeshi] was very downtrodden.”

If you want to watch our full interview with Mackie, check out the video below or at the top of the page:

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We also spent some time with the newly appointed showrunner, Alison Schapker (Fringe, Lost), who explained how Takeshi’s personality changes are a direct result of his quest to find Quellcrist Falconer (Renée Elise Goldsberry). “Takeshi Kovacs in Season 1 was a Kovacs who had nothing left to lose,” Schapker explained. “And Quellcrist Falconer [was] a woman he lost centuries ago, and he had no chance of finding her. And there’s a promise made to the audience at the end of Season 1, which is: she may be out there. So in Season 2, Kovacs is closer to her than he’s ever been, and that’s a really different Kovacs because that’s a Kovacs who has something to care about.”

What Kind of Upgrades Does Kovacs’ New Sleeve Have?

If you’ve had a chance to check out the official Season 2 trailer for Altered Carbon, then you may have noticed that Mackie’s Takeshi has some pretty spectacular upgrades that make him an even more efficient killer. Schapker told us that there’s one in particular that she and her team were very fond of. “We love the Mag Plates, that you see in the teaser [trailer] where he can call weapons that are biometrically coded to his sleeve.”

Schapker also promised us that there are “other secrets to his sleeve,” but we’ll have to wait until Season 2 of Altered Carbon premieres on Netflix on February 27 to find out more.

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David Griffin still watches DuckTales in his pajamas with a cereal bowl in hand. He’s also the TV Editor for IGN. Say hi on Twitter.

Video game composer Martin O’Donnell has shared another behind-the-scenes video from his time at Bungie working on the Halo series. This latest one focused on the music and audio from 2007’s Halo 3, and it follows an earlier video that showed Steve Vai’s incredible recording of the rockin’ Halo 2 theme music.

In this unearthed video, we see and learn a lot of things, including the fact that a number of Halo 3’s sounds came from dropping, scraping, and smashing an original Xbox with a hammer. There are a lot of other interesting insights and fun facts in the video. For instance, one of the sound designers recorded audio for soldiers walking through the beach by capturing his own footsteps on a beach in Mexico when he was on vacation.

Check out the full video below; it’s well worth a watch for Halo fans. The Xbox-smashing bit starts at around 1:05.

It’s a treat to see some of the the Halo 3 celebrity voicecast recording lines, including Ron Perlman, Nathan Fillion, Nolan North, Katee Sackhoff, Adam Baldwin, Terence Stamp, John DiMaggio, Jen Taylor, and David Scully.

O’Donnell worked on the Halo franchise while at Bungie and stayed on board to write the music for Destiny. He was fired from Bungie in 2014, later suing Bungie and eventually prevailing against the studio, getting hundreds of thousands of dollars.

He’s now working alongside Halo and Destiny designer Jaime Griesemer at a new studio Highwire Games. The independent outfit’s first game is the PlayStation VR title Golem.

The Halo series is now developed at 343 Industries, following its move from Bungie to Microsoft. Halo Infinite is the newest release, and it’s slated to debut this holiday as a launch title for Xbox Series X. For a behind-the-scenes look at that game’s audio, check out the videos linked below.

Sony has announced a new flagship smartphone called the Xperia 1 II and it packs the biggest camera sensor we’ve seen on a mobile device.

The Sony Xperia 1 II’s biggest headlining feature is it now features a 1/1.7-inch main image sensor, which also happens to sit behind a 24mm Zeiss lens that’s also been optically stabilized and specifically calibrated for this phone. It might only be a 12MP resolution sensor, but that big imaging chip is 50% larger than the 1/1.26-inch sensor you’ll find in most smartphone cameras today.

As always, a larger sensor absorbs more light to produces better low-light images with less noise—but it has also allowed Sony to integrate a faster focusing system as well.

With the larger imaging chip, Sony was also able to implement a larger dual-photo diode sensor. This technology already allowed the original Sony Xperia 1 to split each pixel on the sensor two photodiodes, which would receive light from separate angles and essentially act as a phase-detect autofocus system. The Sony Xperia 1 II features the same dual photodiode sensor focusing system, but now it covers 70% of the camera sensor.

What’s more, Sony has added a new 3D iToF sensor that calculates the time of flight from your phone to your subject (i.e. a person or building). With the expanded dual-photo diode and 3D iToF sensor combined, the new Xperia 1 II can give you constant autofocus and auto-exposure while you’re shooting. Additionally, Sony has ported the Real-time Eye AF feature from its mainstream cameras, so it can automatically lock focus onto both human or animal eyes while you’re taking portraits or cat photos.

Sony has also expanded the burst shooting capabilities of the Sony Xperia 1 II, which can now shoot at up to 20fps with constant AF and AE enabled as well.

On top of the upgraded main camera, the Sony Xperia 1 II features another pair of 12MP sensors behind a 16mm ultrawide and 70mm telephoto lens. The ultrawide camera features its own dual-photo diode sensor, meanwhile, the telephoto can only use phase-detect autofocus but you do get OIS as with the main camera.

Like the iPhone 11 Pro, users will be able to smoothly zoom between the Xperia 1 II’s three focal lengths, which will come in handy when you’re shooting 4K 60p videos with this handset.

Cameras aside the Xperia 1 II features a familiar extra tall 6.5-inch 4K HDR OLED display following Sony’s 21:9 CinemaWide screen format. The chipset has also been upgraded to a Qualcomm Snapdragon 865 processor paired with 8GB of RAM and 256GB of storage. The battery onboard Sony’s latest flagship is pretty average at a 4,000mAh capacity.

The Sony Xperia 1 II also sees the reintroduction of the 3.5mm audio jack with the addition of dual front-firing stereo speakers. Lastly, Sony has added a few gaming-focused features on the Xperia 1 II including motion blur reduction and enhanced touch sensitivity. Sony has also told us that it will announce a special collaboration with Call of Duty: Mobile at a later date.

Sony has yet to disclose pricing or availability information for the Sony Xperia 1 II, but we expect to hear an update any day now.

Riding the 5G wave

If you were wondering why we didn’t mention the Xperia 1 II was a 5G phone, well that’s because it’s sticking to 4G. Sony is saving its 5G experience for a higher-end Xperia Pro.

The Xperia Pro comes 5G ready with sub6 and mmWave radios, but it otherwise features the same specs as the Xperia 1 II from its cameras to an identical chipset. On other difference you might notice about Sony’s highest-end phone is it’s a bit larger and that’s to make way for a more robust frame with a dedicated HDMI port.

Users will be able to connect this phone directly to a Sony camera—from the brand’s mirrorless cameras to its professional camcorders. While connected the Xperia Pro can be used as an external recorder and even stream video directly over the Internet.

As with the Xperia 1 II, Sony has yet to announce pricing or a release date for the Xperia Pro but we’re hoping to hear more soon.

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Kevin Lee is IGN’s Hardware and Roundups Editor. Follow him on Twitter @baggingspam

This review contains spoilers for Better Call Saul Season 5, episode 1, “Magic Man.”

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As Better Call Saul settled into its middle years, it started to feel like two very different shows. There was the continuing origin story of Saul Goodman, and then the slow construction of Gus Fring’s meth empire. These two main story threads had entirely different casts who rarely, if ever, crossed over into the other half of the show. The more bisected Better Call Saul became, the more it started to exhibit the tendencies that have ruined many a prequel to popular properties (Season 4 was particularly cameo happy). But, after almost a year and a half on hiatus, the Season 5 premiere feels like a refocused version of the series—one that can serve itself and Breaking Bad simultaneously as this prequel heads toward its own ending (Season 6 is confirmed to be the show’s last).

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The divide still exists in “Magic Man,” but it feels like every piece each now has two linking shadows, one of the past, and one of the inevitable future we already saw play out from 2008 to 2013. After the annual tradition of a black and white opener set after Breaking Bad’s finale (more on this later), we catch up with Jimmy McGill as he’s taking the leap to change his name to Saul Goodman once and for all. This is our first indicator that the series is getting close to its inevitable end, as Jimmy is publicly buried under the façade of Saul. But director Bronwen Hughes (returning to this world after helming seminal Breaking Bad Season 1 entry “Crazy Handful of Nothin’” way back in 2008) smartly doesn’t run the perspective of this pivot through Jimmy’s eyes; she puts it through Kim’s.

For Season 5, the outstanding Rhea Seehorn is one of just two series regulars who doesn’t appear in Breaking Bad or isn’t directly tied to the Salamanca crime family (the other is Patrick Fabian, absent from the premiere, his role as Howard seemingly continuing to shrink after Chuck’s death), and that makes her one of the most fascinating pieces of this prequel’s puzzle, if not the most. In this scene after the cold open, it feels like Kim Wexler has entered a different world. Here is a strictly Better Call Saul character looking directly into Breaking Bad’s aesthetic. Her long-term partner has changed his name into a bad pun. He’s excited to represent the guilty and try to cut them impossible deals, giving out burner phones that he’s programmed to have a one-button push to call him directly. Worst of all, he’s inviting her to be like him.

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The doomed Jimmy and Kim romance is Better Call Saul’s greatest and most gut-wrenching slow burn. She earnestly buys him a briefcase with the initials of Jimmy McGill on them, and suddenly they no longer apply. “Justice Matters Most,” Jimmy lets stumble out as an acronym for a motto in place of his name, an attempt to make her feel better about the now out-of-date gift. We see on Kim’s face that it doesn’t work. But the lack of sincerity with which he says it proves that the motto, at least to him, is also severely out of date. What matters most to him now is the game. Just how much can he get away with in the legal system? Jimmy’s personal mission now, it seems, is to find out.

And find that ceiling he will. This season’s monochromatic opening flash forward is a long one, at nearly 13 minutes. These season cold opens show Jimmy running from the very justice the system would lay upon him, which, in a way, thanks to his extensive paranoia and overtly poor quality of life, is its own kind of justice. But after avoiding work for a few days following a scare of being found out, he’s back at the Cinnabon in an Omaha, Nebraska mall when someone recognizes him from those goofy TV ads he used to run. This prompts a call to Ed Galbraith (the late, great Robert Forster), the “vacuum cleaner salesman” who helped Walt escape at the end of Breaking Bad, and had quite the run-in with Jesse Pinkman in last fall’s El Camino movie. But Jimmy’s call with him goes in the opposite direction. If this is indeed the last flash forward before the final season, Jimmy pushes this quiet story toward its climax, readying himself to stop running and looking over his shoulder. It’s a tantalizing as hell tease, seeing Jimmy fade out into one of the only futures unknown to us on this show. But first, more context from the past.

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The other half of the story is Mike dealing with the guilt from killing Werner at the end of last season. As the Germans wrap up work on Gus’ super lab, he’s confronted by Lalo Salamanca (Tony Dalton is the only new series regular this year, after his introduction late in Season 4) as to why his meth isn’t as pure as his usual output. Lalo makes for a thrilling threat to Gus’ empire, even if the outcome is all but known to us already. Dalton plays him like the sort of Quentin Tarantino villain that can silence a room with a smirk. With this character further fueling Gus’ rivalry with the Salamancas, this story thread feels just a few steps away from Breaking Bad. And for once, that’s okay.

With both Jimmy and Gus’ storylines no longer walking but running toward the tragic destiny awaiting them, there’s a synergy to them in the premiere that’s been missing from Better Call Saul in past seasons. Yet, keeping this show from losing the wholly independent spirit it first started with is Kim. Even she may be inching toward the darker side, as she helps a client by lying to them with Jimmy’s tall tale, but at least she’s checking herself in the mirror after, a final moment Seehorn drenches with feeling even with the camera pulled back. Better Call Saul finally seems ready to become Breaking Bad, but Kim’s not going to let the former go down without a fight.