Author: Trafficblast

When I think about my own history with Mortal Kombat, it was all about beating my brother or friends one-on-one so I could finish them with a savage fatality in MK3. It revolved around a light-hearted sense of competition wrapped in a disgustingly hilarious gore-filled fighting game. By no means has that been lost in Mortal Kombat 11, but it’s not necessarily the thing I’m most excited about. Even as I pay closer attention to the FGC and find pro-level play ever-fascinating, it’s the single-player content that I’m eager to jump into.

During a preview event in Chicago, Illinois–home to developer NetherRealm Studios–I had the opportunity to spend about two hours with Mortal Kombat 11’s latest playable build. This included a roster of familiar faces such as Johnny Cage, Cassie Cage, and Kano in addition to the playable characters available during January’s reveal event. But this time, I got a taste of the game’s story mode and Towers of Time challenges, and messed around with Variations and customization. Considering the pedigree of NetherRealm and the breadth of content Injustice 2 packed in, it doesn’t come as much of surprise that MK11 follows suit.

Get ready for present-day Johnny Cage arguing with ’90s Johnny Cage.

Story Time

From the opening cutscene to the end of the first chapter, it’s apparent that MK11 touches on some of the best parts from NetherRealm’s previous work. After the stellar execution of Injustice 2’s story mode, that had a cinematic flair expected to accompany DC universe characters, you’d hope that carries over into MK11, and it does. Mortal Kombat 11 picks up where MKX‘s story left off, and starts with the scene that was shown during the game’s reveal. In the Jinsei Chamber, Raiden decapitates the Elder God Shinnok just before the mysterious Kronika shows up to hint at her time-manipulating abilities, saying, “The arc of the universe bends to my will. It is only a matter of time,” and halting the flow of blood from Shinnok’s severed head.

Cut to Earthrealm, where Cassie Cage earns a promotion within the ranks of the Special Forces commissioned by… her mom, Sonya Blade. As the unit’s leader, Sonya insists it isn’t due to nepotism and tells Cassie that she has to pass one more test: to fight… her mom. You’re put in Cassie’s shoes in this chapter, and there’s still that smooth transition from cutscene to fight that gets you into the action without a hitch, blending gameplay and story seamlessly. After a brutal (yet respectful) beatdown that’s oddly humorous in context, the whole family comes together as Johnny Cage jumps in to celebrate the promotion with his daughter. But the good times are in short order; Raiden arrives to let everyone know that an evil Liu Kang and the Netherrealm army are on the prowl, and Earthrealm must hurry to take them down.

Cassie and Sonya are leading the Earthrealm Special Forces to put an end to the Netherrealm army.

In the war room, Raiden, Sonya, Johnny, and Cassie gather to devise a plan for a two-pronged assault on the Netherrealm, and it turns out successful at first. Raiden mows down the hordes of brutes, raining lightning as a one-man-army while acting as a diversion for the Special Forces to infiltrate the castle. Jade and Kabal catch wind of the invasion, and start to throw hands with Jacqui Briggs and Cassie, and now you enter another playable fight. Although I’m not at liberty to discuss a few important details that close out this opening chapter, it was left on a cliffhanger when the Earthrealm army starts to get overwhelmed and Sonya falls victim to the castle’s crumbling walls. All the while, I was drawn into what MK11 is trying to do with its cast and narrative beats thanks to incredibly well-rendered character models and a high-stakes script that will have both series fans and newcomers invested. That’s not to mention the wild possibilities in store when merging timelines begin to factor into the story.

After the stellar execution of Injustice 2’s story mode that had a cinematic flair expected to accompany DC universe characters, you’d hope that carries over into MK11, and it does.

NetherRealm isn’t afraid to play fast-and-loose with its narrative and timeline. The introduction of Kronika and time manipulation may seem like an easy excuse to throw in all its characters and insert fan service at will, but it’s Mortal Kombat, and that means things were always bound to get bonkers. MK11 opens the door for some wild possibilities that are already apparent in the new story trailer (see above) by giving us a taste of not one, but two Johnny Cages riffing off of each other. It’s also evident in the trailer that this creates room for more complicated conflicts, plot twists, and ever-changing allegiances between the Netherrealm and Earthrealm.

I spoke with series creator Ed Boon about many things, but among them was story inspiration. He pointed to the writing team, stating, “They came up with this whole time bending thing and bringing characters back from the past. So when we got excited about that, a lot of it just sparked [the thought], ‘Okay, now we can do this, this and that!'” When asking NetherRealm game designer Derek Kirtzic about the direction MK11 is taking, he said, “You’re going to start seeing the resurrection of a lot of old characters. A lot of fan favorites. And it’s always just [a question of] how we can continue to expand on this universe.”

Kronika’s time manipulation is sure to make the story mode a wild ride. Maybe we’ll see Liu Kang face himself.

The cinematic presentation is sharp as ever, and the premise is more enticing than its predecessors. It helps big time that MK11 will be a high watermark visually for the series, with a cast that’s vividly brought to life (and death). If there’s a disappointing aspect from the small snippet I played, it’s that the story mode might be a bit light on the gameplay front by having only a few fights throughout. But let me tell you about the Towers of Time.

Towers of Time

If a heavier emphasis on gameplay and challenge is what you’re looking for in MK11, you’ll want to dig into the Towers of Time mode. Here, you’re presented with a multitude of towers, each that embody a series of thematic fights in rapid succession featuring modifiers to keep things fresh. This may sound familiar since it’s essentially a parallel to Injustice 2’s Multiverse Mode.

Fighting games sometimes struggle to maintain solo players’ attention, but it seems to be a concern that’s being firmly addressed in Mortal Kombat 11.

In the “Kold Chill” tower, I had to win four matches, one after the other, with the perk of having Sub-Zero available as an assist. I could call him into the fight for a quick attack using the right stick; directions dictate what he’d do whether it was a launching attack to initiate a juggle or a freeze that stunned my opponent for a second. Things got spicier in the “Test Your Might” tower that granted me access to Konsumables, which are modifiers that let me equip special attacks to the right stick or grant me buffs during fights. The catch here is that I had to win two rounds without my health bar replenishing after winning the first round–on top of that, the CPU-controlled opponent only had to win one round to finish the fight. It turned into this weird mix of turtling as I called in meteors and missile strikes from the Konsumable perks I equipped, but also moving in close to land a combo without taking too much damage in the process. It’s a different way to enjoy the game, and a means of acquiring new gear to tinker with the roster’s Variations.

The Towers of Time aren’t static, though. They’ll also act as incentivized leaderboards. When I asked Ed Boon about how the mode will keep players interested beyond what’s in the launch package, he said, “we’re introducing different online game modes that are single-player-focused and give you your own personal challenge, to go up leaderboards and also earn special prizes and whatnot.” You can think of these as daily or weekly challenges, similar to ongoing events in other online games. Kirtzic described it as, “almost like an infinite amount of single player content.” If my brief time with the game is any indication, NetherRealm seems to be tackling Mortal Kombat 11’s longevity from several different directions, though we’ll have to wait and see how well these future challenges sustain interest in the game and change up the experience.

A Matter Of Time

Fighting games sometimes struggle to maintain solo players’ attention, but it seems to be a concern that’s being firmly addressed in Mortal Kombat 11. The game will have Klassic Towers and the Krypt mode in addition to the story and Towers of Time, though we weren’t able to check them out. However, none of the content would really land if it wasn’t for MK11’s heavy, satisfying fighting system that improves upon a good foundation set by NetherRealm’s previous games.

There’s also a sense of playfulness throughout the game, even as dark and violent as the game can get. Relentless gore might be a deal-breaker for some but for many, the cartoonishly over-the-top brutality is a staple that makes the series what it is. You’ll be able to see for yourself when Mortal Kombat 11 hits the PlayStation 4, Xbox One, PC, and Nintendo Switch on April 23.

Editor’s note: Warner Bros. Interactive Entertainment and NetherRealm Studios provided accommodations for the Mortal Kombat 11 preview event in Chicago, Illinois for which this feature is based on.

You need a javascript enabled browser to watch videos.

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

You need a javascript enabled browser to watch videos.

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

You need a javascript enabled browser to watch videos.

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

You need a javascript enabled browser to watch videos.

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

You need a javascript enabled browser to watch videos.

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Judgment is coming to the west. Sega announced that the game from the studio behind Yakuza is coming to PS4 on June 25. Those who pre-order digitally will get a head-start on the detective adventure game on June 21.

Originally titled Judge Eyes in Japan, Judgment is a narrative-driven game in which players assume the role of investigator Takayuki Yagami looking into grisly crimes. It’s been described as Yakuza meets Phoenix Wright, for the way it blends a heavy story focus with investigative gameplay sequences. It also shares a setting with the Yakuza series: Kamurocho, the fictionalized city modeled after Kabukicho in Shinjuku, Tokyo.

Though it shares some common traits with Yakuza, though, Ryu Ga Gotoku Studio head Toshihiro Nagoshi says this game is “completely different” from its other works. Yakuza has become a critically acclaimed series of its own, most recently concluding the gangster melodrama series with Yakuza 6: The Song of Life.

For more on Judgment, check out our extensive hands-on preview.

“If I’ve learned anything from seven Yakuza entries, it’s that Ryu ga Gotoku Studios makes good on the details it throws into its games,” Michael Higman wrote. “Judgment provides a fresh perspective of a familiar setting. It may not be a Yakuza game by name, but the spirit seems to still be there. You can investigate Kamurocho’s latest crimes as Takayuki Yagami in Summer 2019 when Judgment launches exclusively for PlayStation 4.”

The next big Marvel superhero movie, Captain Marvel, opens in theatres this week–and it’s expected to be a massive commercial success. According to the latest box office predictions posted by Deadline, the Brie Larson-starring film is on track to make $150 million in the US and Canada for its opening weekend, with a further $200 million coming from international markets for a total global opening-weekend box office result of $350 million.

For comparison, that would be higher than the worldwide opening-weekend hauls for other recent superhero movies like Wonder Woman ($228 million), Justice League ($279 million), and Deadpool ($300 million). Captain Marvel isn’t expected to top Black Panther’s first-weekend global box office take of $371 million, however.

Captain Marvel was always expected to have a huge opening weekend stateside and around the world firstly because it’s a Marvel movie. There is also a considerable amount of interest in it because of how it may connect to April’s Avengers: Endgame. As fans will recall, Avengers: Infinity War ended with a teasing reference to calling on Captain Marvel to help save the day.

Reviews for Captain Marvel have already started to show up, and they are mostly positive, which is probably good news for the film’s box office results. Go to Deadline to see a full rundown of Captain Marvel’s opening-weekend box office projections.

For more on Captain Marvel, check out the stories below.

You need a javascript enabled browser to watch videos.

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Bend Studio, the developers behind the upcoming PS4 exclusive Days Gone, have seen the PlayStation platform grow through the ages. Starting out with Bubsy 3D, one of the earliest 3D platformers, they pivoted to great success with the Syphon Filter series–one of the original PlayStation’s more defining first-party games. In the time since, Bend Studio worked closely with other developers on franchises like Uncharted and Resistance, but on the year of Syphon Filter’s 20th anniversary, the studio is launching its first new IP in two decades.

After spending some hands-on time with the game, we spoke with creative director John Garvin and game director Jeff Ross about the studio’s formative years and how the new open-world game set in the Pacific Northwest aims to shake up the familiar trappings of the setting. The following interview has been edited for clarity and readability.

Bend Studio is actually one of the oldest PlayStation developers still around today. This is the first new IP coming from the studio in a long time, so with that, there seems to be a lot of perspective on what makes a good Sony game.

John Garvin: Well for 20 years, I worked on the Syphon Filter series, Resistance: Retribution, Uncharted: Golden Abyss, and among others. We’ve always been working on third-person shooters that are narrative-driven, that’s really what we do. But you’re right, it’s our first new IP in a long time. However, we’re always thinking of ways to push the gameplay and ourselves further. The thing about working on Days Gone, is that the PS4 obviously has got a lot more power than anything we’ve worked on before. We couldn’t have done something like the hoard gameplay on any other platform like the PS3 or Vita, and it was really exciting for us to do work on the PS4.

Jeff Ross: To me, Bend Studio just always goes for it. We’re in Central Oregon, we’re kinda outsiders, but we’re about making this big game. This one is certainly the biggest, but as a developer, we’re small, scrappy and we’re willing to kinda go for it and let it all hang out on this title.

Garvin: And we’re really lucky because Sony, I think, is unique to publishers and to platform holders because there is so much longevity in the production team. Some of the people on staff have worked on Bubsy 3D, and they’ve gone on to work on bigger games. But to your point about seeing the evolution of PlayStation, it’s been pretty incredible because I love the fact that Shuhei Yoshida is willing to take chances and say, “Hey, how about a next-gen handheld platform? Or how would you guys like to build an Uncharted game on that?” That was quite an opportunity for us and that was something that we really appreciated happening.

So Bend Studio has been making Days Gone over the course of six years, and we saw the game for the first time during the midpoint of that at E3 2016. Over this period, both Sony and the popularity of the zombie sub-genre has changed. Can you talk about how the game has changed over the years, and what’s stayed constant?

Garvin: Here’s the funny thing about Days Gone, the core idea has been the same from day one. We had a concept painting that our art director had done, just spitballing ideas, and it’s this character–we weren’t calling him Deacon St. John back then–but he was sitting on the roof of an old sawmill and 1,000 zombies are snaking their way up to him. Our first tech demo was a re-creation of that and you have this one guy who’s going to be fighting them. So we really asked ourselves “how do we turn that into a game?” You see movies that kinda do that, but the question is, how do you turn that into a game and make it fun? That was literally what drove the development early on for Days Gone.

Ross: That key image, as a matter of fact, was the basis for our first E3 2016 demo. We knew it was a risk to come out with our biggest asset. That sawmill from the original concept piece was our first public demonstration of the game and we executed on that vision. Six years is a lot of time, but we also see it as a plus. It gives us the time to get things right. It’s a great luxury. It is a long time to work on a game, but it’s also a huge open world, dynamic game in next-gen fidelity.

All the highways are destroyed and you’re doing a lot of off-roading because they were trying to stop the hoard. These pieces all kind of tied together and basically what it’s taken over the last six years is turning that into a game that had elements that were familiar because we feel really strongly that that’s what genre is. It’s the players that bring expectations to a game and they want to experience something that they’re going to have fun with, but at the same time, we actually want to go against those expectations as well.

I actually kind of appreciate that this game is set in the Pacific Northwest. It’s a bit of an unusual area to have an open-world game.

Garvin: Yeah from the beginning we wanted it in the Pacific Northwest. Most people actually don’t know that the region is actually the mostly desert. Seattle is on the west side of the Cascade Range, as is about a third of Oregon, and that’s where all the rain is. That’s where all the green forest is. Where we live, it’s mostly all desert which means that it’s all scarred by volcanism. Which means you have ravines, you have buttes, you have all these steep sort of crevices everywhere. So all the vegetation is built up around that because it’s high desert, it’s very harsh, very extreme.

We haven’t seen this in a video game, and we thought it would be interesting, fun to explore and it would look beautiful. What better backdrop to fight a horde than this amazing environment that you’re in.

It actually went against a lot of my own expectations for what the setting was all about.

Garvin: Yep, and it’s all absolutely real. All this stuff is heavily researched so like the Belknap Crater is a place you can go in central Oregon. Something that we really haven’t talked about, that we’re really proud of, is the fact that all the different regions in the game have unique weather systems. It rains a lot less in the Belknap area, whereas the Cascade region it rains a lot more. As you move further south and into other biomes, you’re gonna run into other types of weather patterns that are totally unique to those regions.

Ross: Right, it’s a beautiful and sinister environment. And honestly, it’s like a character in the game in its own way. It can be snowing in the morning, it can be hot at lunch, then it can be snowing again or raining at night. It can snow as late as June or July too. It’s really a dynamic environment, so we’re not really stretching much for the game. We’re just delivering on what’s there.

A common element for a lot of first-party PS4 games is that there’s a strong focus on character, and Deacon seems to find himself in a lot of different events with other characters. I noticed there was a section in the main menu called Storylines, which kept track of your current relationships and objectives for these key characters.

Ross: I’m glad you noticed the Storylines. We wanted to make sure there was very little dissonance in the open world and the story. We haven’t really shown a lot of the main story yet, but everything you do in this world matters for an important reason. The Storylines mechanics was a way to kinda emphasize advancing the smaller threads in the larger storyline. It’s a way for us to connect the open world activities that the player is doing and kinda frame it in a way that shows why it matters. There is a really tight integration between the two–the story and the open world systems.

Garvin: I can tell you that when it comes to making a Sony first-party PS4 AAA exclusive, there’s a heavy emphasis on character-driven storylines and narratives. You see a little bit of that in the demo, where you might see the storyline where you meet this girl you have to rescue. Last time I beat the game, it took me 30 plus hours to beat the golden path. That’s one of the things we’ve been doing at Bend Studio for all these years; Character-driven experiences, and Days Gone is absolutely no exception.

The release of this game is slowly coming up. So after spending so long on this game, is there anything about it that sticks out most for you?

Garvin: Yeah I mean, to me, when I’m still playing I always have to pinch myself. It’s something that we set out six years ago. We kinda told Sony that “Alright, we are going to make this huge open world game, with all these systems”. And nobody really believed us, they trusted us, but they didn’t believe it. To see that stuff come together, ultimately, when you get to the final credits of the game, the feels are there. Everything you’ve said it came together and the game stung, and it’s everything we set out to make and more.

Ross: It’s really transformed us. When people tell us no, that redoubles our effort. It’s like when they say something is impossible, we’ll prove that we can do it. And man, I think we did it. So I’m really super proud of that. From my point of view, like you said, it’s all about the feels. People are not expecting it and they’re going to be surprised. By the time you get done with it you’re going to have experienced a lot.

Garvin: I think [Days Gone] is everything Bend Studio represents. We are sort of punching above our weight. We are really ambitious and we really want to create something that is awesome, even when we’re just a small studio in the middle of the high desert.