Metal Slug-Inspired RPG Headed To Consoles And PC Next Year

A new pixel-art Metroidvania is headed to PC, Nintendo Switch, and Xbox One next year. Mega Cat Studios, the team behind the beat ’em up Coffee Crisis, announced that Bite the Bullet is expected to launch early 2020.

Bite the Bullet is a Metal Slug-inspired RPG where you devour your enemies and environmental inhabitants to power up your character and weaponry. According to the game’s official website, this “roguelike RPG shooter” will feature a variety of classes, over 60 levels, a plethora of weapon crafting and ability unlocks, and more. It looks like a mashup of Tribute Games’ Mercenary Kings and La Cartel Studio’s Mother Russia Bleeds, with a bit of Phobia Game Studio’s Carrion tossed in for good measure. Check out the trailer below.

As the game’s Steam store page states, “Every enemy has its own nutritional information, and your body type will change based on the types of enemies you consume.” As you consume everything from enemies to walls to bullets, your abilities will change, your stats will increase, and your weapons will receive modifiers depending on what you eat.

WWE Summerslam 2019 PPV Match Card Predictions: Kofi Kingston Stupefies Randy Orton

Cadence Of Hyrule Demo Now On Nintendo Switch Eshop

Cadence of Hyrule marks one of the rare times Nintendo has allowed another developer to use its characters, offering a mash-up of Crypt of the NecroDancer mechanics with the familiar songs and sounds of The Legend of Zelda series. Just in case you haven’t tried it out for yourself yet, Nintendo and developer Brace Yourself Games have put up a demo.

Nintendo announced the demo through its Twitter account. You can find the demo now through the Nintendo Switch Eshop or on Nintendo’s Website.

Cadence of Hyrule was a pleasant surprise from Nintendo this year, showing more flexibility with its characters than usual. While it has allowed larger developers like Ubisoft and Team Ninja to play in its world with games like Mario + Rabbids and Hyrule Warriors, respectively, Crypt of the NecroDancer was a relatively small indie hit by comparison. The crossover paid off, as GameSpot’s Cadence of Hyrule review praised its creative rhythm-based way of paying homage to classic Zelda.

“Cadence of Hyrule is a fantastic Zelda game in its own right, even though it adopts the gameplay mechanics of another series,” James O’Connor wrote. “Beyond the aesthetics, it nails the satisfying sense of exploration and increasing power, and it revels in the joy of discovery, as all the best Zelda games do. It’s an extremely successful melding of two great game series and an experience that makes you feel eager for Nintendo to do more interesting things with their major licenses.”

More Single-Player Games Headed To Xbox Going Forward

Microsoft’s Xbox platform may be synonymous with multiplayer offerings, but the brand is looking to diversify its portfolio in the years to come. It seems more single-player titles are in the works at Xbox and its umbrella studios.

Xbox head Phil Spencer responded to a tweet asking if more single-player games are headed to the platform. “Yes, I can confirm,” Spencer replied. He did not specify how many single-player games are in development or what developers are working on single-player titles at the moment. However, Spencer assured that, with the new Xbox Game Studios additions, the brand has “a lot of teams that have built strong [single-player] focused games and we want that to continue.”

It’s unclear if Spencer is referring to first- or third-party titles. One of the most anticipated single-player games, Star Wars – Jedi: Fallen Order, is headed to PC, PlayStation 4, and Xbox One on November 15. And Remedy Entertainment’s Control, a single-player action game featuring space-altering supernatural abilities, launches on PC, PlayStation 4, and Xbox One on August 27.

Alongside 343 Industries (Halo), Compulsion Games (We Happy Few), Ninja Theory (Hellblade: Senua’s Sacrifice), Playground Games (Forza Horizon), The Coalition (Gears of War), and more, Xbox announced the acquisition of Double Fine Productions during E3 2019. In November 2018, Xbox also picked up Wasteland 3 developer InXile Entertainment and The Outer Worlds creator Obsidian Entertainment.

Spyro Gets His Own Nintendo Switch Controller And It’s Cute As Heck

The Nintendo Switch has some solid Pro Controller alternatives in PowerA’s wireless, “enhanced” pads. Now, the company is adding a Spyro-themed version to its lineup, and in addition to the new design, it boasts everything that PowerA’s previous controllers have featured.

The wireless Spyro Controller is up for pre-order on Amazon now, with a release date of August 30. That’s just in time for Spyro Reignited Trilogy‘s Switch release on September 3. We’ve been impressed by PowerA’s output for Nintendo Switch, including its wired controllers, which come at a cheaper price tag.

No Caption ProvidedGallery image 1Gallery image 2Gallery image 3Gallery image 4Gallery image 5Gallery image 6Gallery image 7Gallery image 8

See it at Amazon

As for the Spyro-themed pad, it’s officially licensed by Nintendo and has the ability to map buttons to the two triggers situated on the back of the controller. It also features motion controls and Bluetooth connectivity; however, there’s no rumble or NFC compatibility, meaning you won’t be able to scan any Amiibos.

On top of that, you’ll need to power the controller with two AA batteries. This gives you up to 30 hours of gameplay, and while it may seem like a negative compared to the Pro Controller’s recharging battery, I personally prefer this. The Pro Controller’s internal battery is convenient, but when it loses its charge, you won’t be able to use it wirelessly any longer. That hopefully won’t happen until far after the Switch’s lifespan, but as someone who likes to revisit their favourite games (and has been burned by a couple of dead PS3 controllers), I appreciate good quality controllers that come wired or battery-powered.

As for Spyro Reignited Trilogy, it released on PS4 and Xbox One last year on November 13. Reviewer Justin Clark called it “the best kind of collection that not only brings a beloved series up to current visual standards but also proves just how well-built the original titles were.” You can check out the score and read our full Spyro Reignited review here.

FIFA 20, Volta, And The Law Of Diminishing Returns

I recently got to play FIFA 20 at a preview event in Berlin and, as you might expect, the new game is like the current version, FIFA 19, but a bit different. The passing is a little better, the shooting is a little better, the UI has been tidied up in some areas–you know, the usual fare.

Out of curiosity on my return from Berlin, I booted up an old PS4 copy of FIFA 15, a game released when Ultimate Team was still a relatively new concept, Career Mode was still good, and Steven Gerrard was still the beating heart of Liverpool’s midfield. The five-year-old game holds up remarkably well and feels surprisingly similar to the upcoming FIFA 20. Sure, the newer games are slicker experiences, but FIFA 20 isn’t as far ahead as you might expect, given the five-game gap.

No Caption ProvidedGallery image 1Gallery image 2Gallery image 3Gallery image 4

That’s not a dig at modern FIFA–I have thoroughly enjoyed 19 and it is comfortably my most-played game of the past 10 months. Rather it’s both a compliment to FIFA 15 and a comment on the diminishing returns developers face when making annual games. Despite five years of tweaks, gameplay improvements, a whole new development engine, and new modes like The Journey, we’re not that much further ahead.

This year’s big new mode is the FIFA Street-like Volta, which, on first impression, seems like a deep and engaging addition to the series’ portfolio. Once you’ve built your custom player-character, you’re presented with a world map showing a number of locations you can visit. These places are the battlegrounds that host various types of street football, and they include London, Tokyo, and Rio de Janeiro, among a bunch of others. You can then travel to these locales to partake in Story matches and city-specific events–some of which can be played against friends’ teams even when they’re offline. Your team in these modes is made of fake characters created specifically for the mode–though the story mode contains some real-life street footballers as ‘boss fights.’ There’s also a Volta Kick-Off submode that allows you to play small-sided matches–3v3 up to 5v5–with players from licensed professional teams like Man Utd or Real Madrid.

Elsewhere, Volta borrows heavily from Ultimate Team: players are represented by cards, whose chemistry is affected by the position you place them in and the formation you decide to play. Your team’s chemistry will also change depending on the type of court they prefer compared to the one they’re playing on–the presence or lack of solid walls on the outer edge, for example, makes quite a large difference to how a game plays out and to the tactics you can exploit. The mode also contains weekly challenges and deep customization options, the latter of which are represented in Overwatch-style fashion by different colors and labels denoting, for example, Epic, Legendary, or Common rarity items. EA says these items are purchasable using in-game currency only, with no microtransactions present at launch.

Aside from these customization options, such as hats, jerseys, and boots, the long-term appeal of Volta appears to be driven by multiplayer matches against your friends and their teams, as well as striving to accumulate the best players. (When you beat another team, you can pick a player to steal to join your own squad, though that player will also remain as part of their existing squad.)

Volta matches themselves feel very reminiscent of the 2012 FIFA Street reboot–while there is a greater focus on skills and showing off than is found in regular soccer, it’s not as over-the-top as the previous Street games were. There are no gamebreakers or classes, and the control scheme carries over from regular FIFA, a move EA says is designed to help players transition between the two otherwise diametrically opposed ways of playing. In that respect, it seems a successful move–and bouncing balls off walls and nutmegging opposition players before getting on your hands and knees to head a ball over the line is thrilling–but it did feel a little like I was straining against the control scheme in order to achieve such feats. It’s as if the framing was just a little too much like standard FIFA to enable the great moments to flow. Hopefully EA can tighten this up in the remaining weeks before launch.

I found the integration of Volta’s multiplayer and single-player submodes and its AI-driven community squads a little confusing, so I’m eager to get my hands on the mode again when the final game launches at the end of September. My initial instincts say Volta will be a fun option that I’ll dip in and out of throughout the year when I grow tired of Ultimate Team or Career Mode, rather than a main draw like either of those two. However, at least Volta’s appeal appears to be longer-lasting than that of The Journey, which, while I enjoyed, held little to no long-term value.

Volta is a refreshing new way to play FIFA, then, but what happens on the pitch still doesn’t feel significantly different to what came before. This is a problem many games faced toward the end of the last console generation. The reality is that when hardware stays the same, developers can only achieve so much–especially when they face the continual deadlines of annual releases and increasing pressure to update existing games as live services. This issue is not unique to FIFA, and PES has suffered from a similar deceleration in gameplay improvements. The games are still getting better and steps forward are still being made–they’re just smaller with each passing year.

This is reflected in the way the series are developed and marketed these days. EA and Konami focus less on gameplay enhancements and their somewhat ridiculous buzzword labels–Elite Technique, Pro Instincts, Hyper Shooting, Super Space Auto Tackling 2.0, that kind of thing–and more on entire new modes or aesthetic changes. Konami has gone all-out on its license acquisitions this year, for example, while EA points to FUT and Volta before it gets to what’s changed on the pitch. This isn’t necessarily a problem, since we’re still getting cool new features to make it worth forking out every year, but maybe, for the time being, we need to adjust our expectations of what developers can achieve in yearly development cycles.

With the next generation of consoles on the horizon, I’m sure a revolution is coming for football games. Until then, we’ll have to make do with an entirely new mode that, while not groundbreaking, is an enjoyable alternative to the modes we’ve come to know and love (and, occasionally, hate). I suppose Volta could be summed up as being like standard FIFA 20–but a bit different. How very modern.

FIFA 20 launches for PS4, Xbox One, and PC–with legacy editions coming to Switch and older platforms–on September 27.

Scary Stories To Tell In the Dark Review: Great Gateway Horror For Kids

The ’90s gave us an abundance of great horror stories, especially those aimed towards kids. Shows like Goosebumps and the animated Tales from the Cryptkeeper to children’s literature like Alvin Schwartz’s series of short horror stories Scary Stories to Tell in the Dark helped create a new generation of horror fans by not being afraid to explore dark, heavy topics like death. After Goosebumps got a feature film adaptation in 2015, it was about time we got a live-action adaptation of Scary Stories to Tell in the Dark, especially one this good.

The cast of Scary Stories to Tell in the Dark is mostly made up of archetypes. You’ve got the joker who isn’t interested in any kind of reading (Austin Zajur), the intellectual guy who doesn’t believe in curses (Gabriel Rush), the outsider fleeing from a mysterious past who becomes friends with the protagonists due to being at the wrong place at the wrong time (Michael Garza), and the idealist creative kid who feels stuck in their hometown (Zoe Margaret Colletti). They live in a small town in Pennsylvania in 1968, where they find a haunted book with stories that write themselves on Halloween night. They have to find a way to uncover the secrets of the book, and by extension their town, while dreading the terrible monsters that are coming for those whose names are written in the tome.

What follows is a fun and spooky horror movie, though be warned that this is still aimed at kids. Those who grew up with the books may enjoy seeing their nightmares being brought to life, and those who aren’t familiar with Alvin Schwartz’s work will still enjoy the gnarly creature work and the fun scares, but don’t go in expecting lots of gore or the kinds of scares in something like the R-rated The Conjuring.

While most of the performances are nothing to write home about, Zoe Margaret Colletti gives the movie’s the standout performance as Stella. Colletti captures the feeling of being an outsider and shutting your passions deep down for the sake of fitting in, while carrying the weight of a family tragedy. Though we don’t hear about it for most of the movie, her facial expressions tell you all you need to know about what Stella’s been through. She wants to be a horror writer, reads Famous Monsters magazine, and her room is covered in horror movie posters of the time. The power of story is the heart of the film, as is the horrible fear of not being able to tell your own story. The script pays homage to those who grew up loving horror and those who always wanted to tell their own stories.

Scary Stories continues the genre’s long-time tradition of using horror to comment on the real world, using the genre’s tropes as a way to “mask” the social commentary in a more entertaining way than a straight lecture and turn our very real fears and villains into heinous creatures. In this case, the ‘60s setting serves as a perfect reflection of today’s political turmoil and cultural fears. Nixon’s presidential campaign from 1968 is often heard on the radio and seen on television in the background, and news about Vietnam is discussed by characters who are afraid of their kids dying for no reason. It helps contextualize the world of the movie through today’s lens by using a haunted book and fictional monsters as a way to portray the real fears we have today and the figures at the center of those fears. What better way to make a horror movie seem real than by reminding you of the real world? Night of the Living Dead did it, Get Out did it, and Scary Stories to Tell in the Dark wants to do it too.

When the kids are not being haunted or killed off by the magically-written stories, they look into the mysterious life of the book’s former owner: the reclusive Sarah Bellows (Kathleen Pollard). This means you might have to wait a bit too long before the next monster appears. Luckily, the story connecting the monsters is intriguing enough to make the wait worth it. This being a Guillermo del Toro-produced movie, you can expect a backstory that’s deeper and more complex than you’d first imagined, both scaring you and also making you feel for even the most despicable monster with a few tragic twists and turns.

Of course, what you really want to know is whether the creepy illustrations by Stephen Gammell are done justice by the movie. The answer is a resounding yes. Not only are the short stories brought to life with care, but everyone’s favorite nightmare-fueling terrors are back: Harold, the Pale Lady, the monster of the Big Toe story, and even some surprises. Done mostly with practical effects and some CGI flourishes, the monsters look fantastic and are sure to terrify a whole new generation, while also bringing to mind memories of going to the library and being spooked by Gammell’s grim illustrations in the ‘80s and ‘90s. The Big Toe monster and the Pale Lady are especially horrifying, and even the movie’s new monster The Jangly Man (a composite of a few illustrations) feels like it always belonged in these stories. They’re played by Mark Steger (Stranger Things), Troy James (Channel Zero) and horror legend Javier Botet (REC, The Conjuring 2). Even without the monsters, the movie has some upsetting imagery that feels taken straight out of the original illustrations, particularly the spiders. Fans of the books should also keep an eye out for the many references to the original short stories, with several visual cues or namedrops that will put a smile on many a fan’s face.

Director André Øvredal made an outstanding impression with Trollhunter and his excellent English-speaking debut, The Autopsy of Jane Doe. If Scary Stories is any indication, he has a long horror career ahead of him. His eye for framing is exquisite, and his camera floats ominously among the characters like a spectre watching their every move. The movie’s gnarly makeup effects will also scare the living hell out of pre-teens the way the books scared adults during their childhoods a few decades ago.

Rest assured, this isn’t another botched adaptation of a children’s horror story like Don’t Be Afraid of the Dark. Scary Stories to Tell in the Dark manages to bring Schwartz’s seminal short story collection to life in terrifying detail, giving fans a fun thrill ride while also serving as a great gateway horror movie for kids to get terrified and then hooked for life to the genre.

Scary Stories to Tell in the Dark Review

It’s been a while since a studio really committed to the concept of a horror movie for kids. Even with the comedy-heavy revival of Goosebumps and Eli Roth’s spooky but silly The House With a Clock in its Walls, the trend for truly scary kids movies has long been relegated to the shelves of video stores past. That’s all about to change, though, as horror heroes Guillermo del Toro (Cronos, The Devil’s Backbone, The Shape of Water) and André Øvredal (Troll Hunter, The Autopsy of Jane Doe) take on the iconic book series by Alvin Schwartz and Stephen Gammell. It’s a momentous task but for the most part the late ’60s period film is a thrilling and chilling success.

Continue reading…