Overwatch On Switch Is The Best Time To Jump In

Following its debut, Overwatch quickly became one of Blizzard Entertainment’s most recognizable brands, fueling the current obsession with multiplayer games known as hero-shooters. It’s unsurprising then that, following the success of the fantastic Switch release of Diablo 3: Eternal Collection, Overwatch became one of the more requested Switch ports from fans. This sentiment turned out to be a relief for the developers at Blizzard, which, as it turns out, was already working on bringing the online hero-shooter to the Nintendo Switch.

Ahead of its release on October 15, I spent some time playing the new version of the game, while speaking with director Jeff Kaplan and lead producer Matthew Hawley about its development. Co-developed with Iron Galaxy, Overwatch on Switch has been over a year in the making. It not only keeps its fast-paced team-oriented competitive gameplay intact, but it also includes some new features that you can only find on the portable console.

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One of the reasons why the Switch has been a great destination for ports is because it allows players to re-examine games in a new light thanks to the console’s portability and flexible playstyle. On Switch, you can still play Overwatch on a monitor with a standard controller like its counterparts, but getting to play the game in the handheld mode made the shooter feel a bit more laid-back. What’s also new to Overwatch are the gyroscopic motion-controls via Joy-Cons, which can be used in tandem with the traditional set-up. This new style was something that took some getting used to, but I eventually took to it after a few rounds. In a way, I felt more drawn into the game when playing in handheld mode and with the gyroscope controls. This relaxed and immediately responsive playstyle makes Overwatch on the Switch feels especially distinct. Speaking with game director Jeff Kaplan, he reflected on his first time holding the Switch, which made him realize that Overwatch was a great fit.

“It’s been a project of passion. I actually waited in line to buy a Switch the day it came out, that’s how much the platform meant to me,” said the game director. “I remember getting my hands on it and going, ‘Oh my God, we need to be here.’ It’s just a great platform. We’ve worked on this for over a year now, and after getting Diablo 3 out there last year and seeing that excitement, we’re now launching Overwatch for the Switch. This has been the end result of that first excitement we had for the Switch back then.”

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At launch, Overwatch on Switch will have all existing heroes and content from the PC and console versions. Unlike the release of Diablo 3, however, there aren’t any plans as of this time to include any Nintendo-exclusive items. The Switch version is an impressive port, but it was clear that some clear concessions had to be made to get it running on the more modest hardware. For starters, the Switch version runs at a mostly firm 30 FPS. When docked, the resolution is set at 900p, while undocked brings it down to 720p–with some slight moments of frame rate dips during heavy engagements. Kaplan stated that they’re aiming to release new updates at the same time with other versions, however, unlike Diablo 3: Eternal Collection, the Switch release won’t feature cross-progression, meaning players will have to start fresh within the new ecosystem.

This has been the end result of that first excitement we had for the Switch back then. — Jeff Kaplan, game director.

One of the more unique aspects of Overwatch’s outing on the Switch is the gyroscopic controls. Like Splatoon 2, which lead producer Matthew Hawley said was a source of inspiration from the team, you can use the Joy-Cons or Pro controller’s motion-sensors to move the camera and line up your shots. In the options menu, I noticed that there were several options that could be tweaked to fit your preferences, which include enabling or disabling motion-aiming while using the camera control stick and adjusting the sensitivity of your aim. Of course, if you prefer to stick with the game’s traditional set-up, you’re free to disable motion controls entirely. According to the devs, gyroscopic controls was something they wanted to include in the port, and they collaborated with Nintendo to get it working just right.

“We actually have a designer on our team who is a big Splatoon fan and he really likes gyroscopic aiming,” said the lead producer. “He detaches the joy-cons and kind of points one at the screen, in Wiimote style, and his level of precision just blows me away. It’s pretty cool. There’s no other platform that we currently have Overwatch on that has that kind of motion control, and Nintendo was really excited for us to try and implement it for Switch. There’s a whole world of people that have never played Overwatch before because they only play on Nintendo platforms, so bringing in a Nintendo audience into Overwatch is really, really exciting for us.”

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In the dozen or so games I played, any concerns I felt about the game’s technical shortcomings went away when getting into the thick of it. I anticipate it’ll be tough for some players who are into the more competitive side of Overwatch to adjust to the scaled-back format, putting it in noticeable contrast to the high-resolution and 60fps gameplay from the other releases. In my experience, I didn’t really mind the change. If anything, the relaxed set-up that the Switch offered made it all the more easy to get back into. Overwatch on Switch is just as colorful and hectic as its PS4, Xbox One, and PC counterparts, and I really enjoyed myself playing it.

As the Switch is seeing more ports of online-centric games, the arrival of Overwatch–which is a more accessible team-based shooter–is especially welcome. Still, I can’t deny that it’s disappointing that cross-progression isn’t possible on the Switch. The newest release doesn’t totally deviate from the original, yet, the more flexible and responsive playstyle, along with the opportunity to bring Overwatch with you anywhere makes it feel especially novel in comparison to other versions. With its release on October 15, I foresee this port being a great way for players, new and lapsed alike, to revisit the game in a more fresh and laid back way.

The Walking Dead Renewed for Season 11 on AMC

The Walking Dead is officially coming back for Season 11 on AMC, showrunner Angela Kang confirmed at New York Comic Con.

But that wasn’t the only exciting news. Lauren Cohan made a surprise appearance on the NYCC stage to confirm Maggie will officially be back on The Walking Dead.

“I think we always knew we were going to try to find this reentry,” said Cohan. “I’m just honestly really interested in what we’re going to be able to say because we’ve had huge passages of time and there’s so much life adventure that’s been happening for Maggie.”

The series will air its Season 10 premiere on Sunday, October 6th at 9 p.m. on AMC. The cast gathered in anticipation of the Season 10 premiere to send off star Danai Gurira for her final season, tease the next phase of the Whisperers War and even offer a hint at what’s to come for the upcoming Rick Grimes movie.

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Robert Kirkman Almost Killed Negan in TWD Comic But Couldn’t Bring Himself to Do It

Now that The Walking Dead comic has ended, creator Robert Kirkman is coming clean on who his favorite character is… and honestly, it’s not too much of a surprise.

During The Walking Dead TV series panel at New York Comic Con, Kirkman said Negan is his favorite character, and why he never revealed that detail up until this point.

“I think it’s OK for me to finally admit that Negan is my favorite character. I didn’t want to do that before because I didn’t want people to go, ‘Well, he’s never going to kill that guy,'” said Kirkman.

Despite being the villain for many issues (and TV show seasons), Kirkman never did end up offing Negan in the 193 issues of the comic, but that doesn’t mean he didn’t think about it.

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HBO’s Watchmen NYCC Impressions: Feels Like The Best New Sci-Fi In Years

At New York Comic-Con, HBO screened the full first episode of the upcoming TV adaptation of Watchmen, which returns to the alternate timeline of the original graphic novel but imagines a story set in the modern day.

The new story centers around Angela Abar (Regina King), a masked vigilante named Lady Night who lives with her family in suburban Tulsa, Oklahoma. In the 30 years since Ozymandias’s horrific cosmic attack in the final issue of Watchmen, the world has continued to drift further and further down the strange path characters like the villain (real name Adrian Veidt), Rorschach, and Dr. Manhattan started it down. Mutant squids occasionally rain from the sky–a phenomenon that is so common cities have their very own, completely run-of-the-mill alert system in place to let people know when they should pull their cars over or open their umbrellas. Streets are cleaned with specific vehicles for squid removal. Police wear masks and protect their identities after a coordinated attack (led by a white supremacist group called the 7th Cavalry) had them gunned down en masse in their homes.

Said white supremacist group has “appropriated,” in the words of showrunner Damon Lindelof during the Watchmen panel following the screening, the iconography and talking points of Rorschach, whose manifesto was posthumously circulated after Veidt’s attack back in the graphic novel.

The war between the police and the 7th Cavalry also involves the masked vigilante community, who have apparently sided with the police–but the real nature of their partnership and the specifics of the arrangement are left ambiguous. Watchmen never actually feels withholding, but it’s decidedly cagey with the expository details. The world is familiar, in a way, but also entirely alien, and it’s impossible to actually gauge what does and doesn’t fall under the umbrella of normalcy, given the circumstances.

As with the original graphic novel, the devil is squarely in the details. In order to really piece together some semblance of understanding, you’re left to pick out the subtleties–at one point, images flash in rapid fire montage over the mirrored mask of a character named Looking Glass and there’s the tiniest glimpse of a Mount Rushmore that includes Richard Nixon. Cops are no longer able to carry firearms freely and must instead adhere to a strict bureaucratic set of authorizations to allow them to even carry any weapon at all. Homes and neighborhoods look normal enough, but there’s something just slightly off kilter about the design and aesthetics. Televisions are all projections, cell phones look different, cars are boxier. Characters casually make references to the statehood of Vietnam.

It’s as engaging as it is mysterious, bolstered entirely by the wholesale commitment of the actors and the energy of the bass-thumping electronica of the Trent Reznor and Atticus Ross score. Watchmen feels like it’s cut from the same cloth as some of the best sci-fi of recent years, surreal genre experiments like Cary Joji Fukunaga’s Maniac, or fellow graphic novel adaptation Snowpiercer, while still feeling inexplicably grounded in reality. The world itself may be alien, but the issues–the struggle against authority, the proliferation of white supremacy and the systems where it is able to grow and thrive–are anything but.

We’ll have a full review closer to Watchmen’s premiere later this month, but suffice to say, we liked what we saw here. Visually, it’s stunning. Symbolism and symmetry take center stage even in the most mundane shots, giving the entire episode an unmistakably choreographed feel. Absolutely nothing on screen is incidental or accidental, and fans of the comic will have no trouble at all making the visual connection to iconic panels, even if the subject matter and the characters are completely new and different.

During the Q&A portion of the panel, the comic’s co-creator and artist Dave Gibbons made a surprise appearance and explained that, even as he was working on the original 12 issues, what really made the story click for him was the moment he stopped thinking of it as a superhero story. “I started thinking of it as an alternate reality sci-fi comic that happened to involve superheroes,” Gibbons explained. “That’s when the nature of the thing started making sense to me.”

The pilot is steeped in that sensibility. Sure, superheroes play a major role, and yes, there’s no shortage of commentary about the complicated interplay between vigilantism and heroism, but at its heart, Episode 1 feels like the start of something truly special for fans of science fiction television.

Watchmen Season 1 premieres October 20 on HBO.

Apex Legends Season 3’s New Map Has Won Us Over, But It’s Not Perfect

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Why Ms. Marvel Is The Real Hero Of The Avengers Game

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