For a limited time, Best Buy is offering discounts on certain Turtle Beach gaming headsets for PS4, Xbox One, and Windows PC. That discount ranges from $15 off the entry-level Stealth 300 models to $70 off the high-end Elite Pro 2 with SuperAmp. Turtle Beach is one of the premier manufacturers of dedicated gaming audio, often ranking among the best gaming headsets, and their headsets offer a combination of sound quality, comfort, and control that’s optimized for each platform.
A dedicated gaming headset can be one of the most essential accessories in any gamer’s collection, whether you’re a conscientious roommate looking to keep the noise down, an aspiring esports pro looking to communicate with your team, or an audiophile who wants to immerse themselves in your games’ stereo soundscapes. If you’re looking to trick out your setup, or that of a gamer in your life, check out our guides to essential accessories for the Xbox One, PlayStation 4, and Nintendo Switch, respectively.
E3 recently wrapped up in LA, but several sales on games, consoles, accessories, and more are ending soon, so check out all the best PS4, Xbox One, and Nintendo Switch deals while they’re still available.
During Bethesda’s E3 2019 presentation we got a good look at the upcoming first-person shooter Wolfenstein: Youngblood. Though this year’s E3 may have ended, news about the convention’s biggest games continues to trickle out. One such piece of information is the length of the Wolfenstein spin-off.
Machine Games’ executive producer Jerk Gustafsson sat down with GamesBeat to talk about Wolfenstein: Youngblood and discussed the new characters–BJ Blazkowicz’s twin daughters, Jess and Soph–the game’s length, and more.
GamesBeat asked Gustafsson just how long Wolfenstein: Youngblood is, to which Gustafsson said the game is the studio’s “biggest game yet, but it’s a pretty short production time.” Gustafsson said, “I think we’re looking at at least 25 to 30 hours if you play through everything.” He added that the “level progression and the non-linear narrative” makes the game longer than their previous titles. Game length statistic site How Long To Beat reports that Wolfenstein: The New Order and Wolfenstein II: The New Colossus both have main storylines that take approximately 11 hours to finish.
GamesBeat also asked how Machine Games settled on two-player co-op. Gustafsson said, “We know that Anya [Blazkowicz’s wife] was pregnant with twins. It made sense to do something fresh and new in the ’80s when the twins were older. We also wanted to do a story about growing up and the transition between adolescence and adulthood. Those were the main reasons for going with the two characters.”
Wolfenstein: Youngblood launches on July 26 for Nintendo Switch, PC, PlayStation 4, and Xbox One.
If you’re up for something new to watch on Netflix, but don’t know what to stream because you have no clue what’s new, and Netflix’s “New Release” section is relatively awful, don’t worry, we have you covered. Let’s take a look at what’s coming to the streaming service this week.
This is a big week for releases, with the most of it all coming on Friday. As far as non-Netflix originals go, on Sunday, the 2015 film Cop Car hit Netflix. The Kevin Bacon movie follows a police officer who finds two teenagers who have stolen his car for a joy ride. Additionally, the 2018 movie Big Kill arrives on Tuesday. The western follows a group of people in a boom town, and the adventures they have. The film stars Young Guns alum Lou Diamond Phillips.
As far as originals go, there are a few you may want to check out, like Season 2 of the Dark. The series follows a family in Germany, and there’s a whole supernatural twist tied to the series. The new season arrives on June 21. And if you’re looking for a new stand-up special to watch, as Netflix has a million of them, check out Adam Devine’s “Best Time of Our Lives.” In the stand-up special, Devine discusses his Pitch Perfect audition and his awkward celebrity encounters.
This is a much better week for anime fans, specifically those who love Evangelion. On Friday, The End of Evangelion, EVANGELION: DEATH (TRUE)², and Neon Genesis Evangelion will all be released. To see what else is coming out this week, you’ll find everything coming to Netflix below and make sure to see what else is coming for the rest of June.
June 16
June 17
The Missing: Season 3 — NETFLIX ORIGINAL
June 18
Adam Devine: Best Time of Our Lives — NETFLIX ORIGINAL
In an interview with IGN, The Coalition’s studio head Rod Fergusson revealed the Gears of War movie is being excluded from the franchise’s canon.
“In order for the movie to be successful, it has to be a great movie first and a Gears movie second,” Fergusson said. “Basically the way that we sort of reconciled that was, we said, ‘oh the movie should be an alternate reality. It should not be dependent on the game story, nor should it influence the game story.’”
Fergusson said by doing this, they’d not only allow there to be more room for potential with what could happen in the movie but to allow new creatives with different processes to think about the Gears world in a unique way. Fergusson said they take this approach with all the Gears worldbuilding media, like the Gears of War books and comics.
I’ve been trying to decide whether I think Spike Rush is better than Rocket League’s base mode. When I’m shown it at E3, the Psyonix devs in attendance casually introduce it as a component part of their ongoing Radical Summer event. It comes alongside a neon swathe of ’80s nostalgia-inducing cosmetics (from Ultimate Warrior decals to ET-themed wheels to a drivable KITT from Knight Rider), and another mode, Beach Ball. None of that is as good as Spike Rush.
The (very good) pitch I’m given is that if regular Rocket League is soccer with cars, Spike Rush is rugby with cars. Arriving for free on July 1, the mode’s fairly simple. There are still three cars on each side, and each is trying to get a big ball into the opponents’ goal, earning a point every time they do.
The only assets Black Forest Games has taken from 2005’s Destroy All Humans! are the original voice lines and music. Every other aspect has been rebuilt to bring alien anti-hero Cryptosporidium 137 aka Crypto back to our screens. The developers describe this new outing as “not a remake, but a remake of what people remember it being”. In my short time seeing the game I knew exactly what they meant, for better or worse.
At its core, Destroy All Humans! is still about exactly that: destroying all humans. Their towns, army bases and general peace of mind. It’s a third-person shooter but also incorporates stealth elements, and vehicle combat when commanding Crypto’s Saucer. You’re encouraged to cause as much destruction as possible, raining death from above, then strolling through the ruins finding new and interesting ways to interfere with the survivors.
Follow all of IGN’s E3 coverage all week long at IGN.com/E3. Note that if you click on one of these links to buy the product, IGN may get a share of the sale. Read our Terms of Use.
PlayStation’s Days of Plays 2019 has had an excellent run but all good things must come to an end. Today is the last day you’ll find the best discounts all Playstation hardware, games, peripherals, and subscriptions. The Limited Edition Days of Play themed PlayStation 4 Slim console will be discontinued after today. Check out all the deals below.
In a new video feature, GameSpot’s Jess McDonell looks at Massive’s The Division 2 specifically and how the studio has gone about supporting the ongoing game and interacting with its community. Jess speaks with Massive community developers Petter Mårtensson and Christoph Gansler about how they engage with and incorporate player feedback with the live service game.
You can watch the full video above, while the entire Q&A is available below featuring joint responses from Gansler and Mårtensson. In it, the developers talked about the value of transparency in The Division 2’s development, how to manage player feedback, and how to maintain a constantly evolving online game.
Gansler and Mårtensson also discuss the hot-button issue of crunch, which is an industry term for the practice of developers working overly long hours to finish milestones.
GameSpot: How important is player feedback to what ends up in the game?
Gansler and Mårtensson: Player feedback is very important to us at Massive Entertainment. We’re always monitoring social channels and forums such as Reddit and YouTube to see what the players are saying about the game. We want our community to know that we see the development of The Division 2 as an ongoing relationship. That said, we and the players don’t always agree on everything. We need to constantly have a holistic view of what goes in and what goes out of the game. But we discuss the feedback we get on a daily basis.
When it comes to developing The Division 2 and incorporating player feedback, how strongly do you agree or disagree with the alleged Henry Ford quote: “If I had asked people what they wanted, they would have said faster horses.”
“We learned a lot from the first game that we took with us into The Division 2.”
As developers, we must have a 360-degree view of the game. Our designers and production teams know the game intimately. They know what’s feasible and what’s not feasible, and they know how certain changes that are being requested would or wouldn’t work practically. Sometimes feedback can be laser-focused on a specific aspect of the game that, if changed, could have much bigger implications that you don’t directly see. At the same time, many of our players also know the game very well, so nothing is discarded.
In addition, we have a lot of data from the game. We have a great data analytics team that works together with our user researchers and the community team. Together, they see how our players play the game and sometimes the loudest complaints are not reflected in reality.
Has your perspective of how to respond to or implement player feedback changed from The Division 1 to The Division 2?
We learned a lot from the first game that we took with us into The Division 2. Updates 1.4 and 1.8 for The Division were largely based on player feedback and we even brought community members to our studios for workshops on the game’s development (big shout out to all our Elite Task Force members!). That mindset is something that we took with us to the second game.
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How often are highly requested features implemented?
For every title update we’ve released for The Division 2, we try to implement various features or tweaks that have been requested by the community. Some requests take longer to implement of course, but we have some cool stuff coming up that community members have discussed and requested that I won’t spoil now.
There are thousands of suggestions across your official forums and the Division 2 subreddit. Where is the line between seeing highly requested features and what can practically be implemented, whether that be for volume or technical reasons?
That line can be difficult to draw. As mentioned earlier, we look at all the feedback we get, see if it’s something that we believe would make the game better, if it’s technically possible to implement, and then decide based on those factors.
“We can’t always answer every question or respond to every criticism, which of course can be frustrating for some, but we try to talk to our players as much as we possibly can”
Even when your community doesn’t agree with certain mechanics or changes, they seem to have an incredible amount of respect for how consistently they are heard and communicated with. Was this always the plan? How do you practically maintain that open line of communication?
We are fortunate to have a passionate community team that has a frequent dialogue with our players. Our Twitch channel is our main tool, where we do our weekly State of the Game livestreams. We also do gameplay streams since that’s a great avenue for us to just sit down, play the game and talk directly to our community.
We can’t always answer every question or respond to every criticism, which of course can be frustrating for some, but we try to talk to our players as much as we possibly can. The community team also has a close relationship with the developers themselves and information flows both ways as a result. Myself and Chris, the community developers for the game, sit smack down in the middle of the Live Team and are in constant communication with them to make sure we know everything that is going on.
And yes, this was always a part of the plan. State of the Game has been running for a long time, from before the first game even launched, and we have no plans to stop doing it. The community interaction has been incredibly important for all of us working on the game. Many of our developers show up on our streams or interact with fans on Twitter and other social channels.
Can you offer some examples of things that have changed in the game as a result of player feedback?
For the first game, Update 1.4 was eye-opening for us. For The Division 2, the drawbacks on weapon mods were very controversial within the community and we ended up removing them from the game.
Can you offer some examples of things that have not changed, despite player suggestions to alter them, and the thinking behind this?
We had planned to increase the Gear Score in the game from 500 to 515, with the latter only available in the Dark Zones. In the end, we decided to not go through with that change, which frustrated some players that were looking forward to it. We understand them, but with a series of PvE and PvP changes in our latest title update (Title Update 3), we want to improve the Dark Zone experience and make it more fun and rewarding. That said, we felt that keeping the gear score at 500 was for the best, from a game experience standpoint, as it is too early to introduce higher gear score items at this time.
How do you manage when your audience is divided in what they want out of the game (for example lowering versus maintaining the current mission difficulty)? With whom does the final decision sit on whether something should or shouldn’t be implemented?
The final decision sits with the directors, designers and the production teams. As mentioned earlier, we need to always figure out if a change is positive and realistic. The community can absolutely be split when it comes to certain topics, but in the end, we must make decisions based on those factors. The sad reality is that there will always be people who are disappointed with any changes to the game, something that comes with every live game. You can’t please everyone, but we hope people know that everything we do, we do for the overall betterment of the game.
To what degree is this communication or transparency a virtue (or a problem) for the development team?
Sometimes things go wrong, and we don’t believe in hiding from our mistakes. We’re human and mistakes happen. Transparency is very important for us; it’s part of the DNA of the project. Of course, we can’t talk about everything, even if we’d want to. That’s just the reality of game’s design and the business. Again, referring to Update 1.4 for the first game – that’s when we truly learned how important transparency can be, how important it is for our relationship with our players. That informed us moving forward.
It’s a virtue because the whole team is behind it. The problems arise when we have things we can’t talk about for whatever reasons. That can cause frustrations since players want answers to their questions. It’s a fine line to walk. You don’t want to over promise and under deliver, for example.
Does having a constantly evolving online game change the way you view the developer/player relationship?
Yes and no. This relationship is natural to us now. Of course, it changes over time, especially with new tools becoming available and new social platforms and groups popping up. Recently, we set up our own official Discord server and, all-of-a-sudden, we have a new tool to gather feedback, get a sense of the community mood and directly talk to our players in ways we couldn’t before. Having a live game means staying dynamic – when it comes to developing the game, as well as for how we communicate. Over time, I hope we can become even closer to our players in new and creative ways.
“We’re human and mistakes happen. Transparency is very important for us; it’s part of the DNA of the project.”
What are the unique challenges and advantages to having a constantly evolving game?
The challenges and advantages lie in that dynamic setting. There are things happening all the time, but not everything is visible to the players. Small changes can inadvertently become huge changes, and vice versa. We need to be at the top of our game constantly, monitor what is happening in the game and in the community and react accordingly. It can be hard, but extremely rewarding too. It’s a team effort and our live and production teams are taking on that challenge on a daily basis.
How do you manage the swings between positivity and negativity that come from the community?
We do our very best to communicate, listen and be as transparent as possible. We talk to our players as much as we can, even if it’s not always possible. We gather all the feedback, using both qualitative and quantitative methods. Those swings are a natural part of communities, but overall The Division community has been a supporting and welcoming place for a long time now. We also know that feedback always comes from the love of the game, so even if it’s something negative, players just want the game to be better. We appreciate that.
How much do you try and implement with each update and how do you manage constant rebalancing and bug fixing?
We try to implement the updates as much as we can, within the limits we have. For Title Update 3 that we just released, for example, we made a series of balance changes while also fixing hundreds of bugs – some visible to the players, some not. We’re not slowing down, and our different teams are 100 percent dedicated to making The Division 2 even bigger and better. It’s an ongoing process, but with the knowledge we have from releasing and operating the first game, we’re in a good position to take this game to new heights.
In regards to reports that online, evolving games require constant ongoing development, do your development teams undergo periods of crunch and what are your thoughts on the practice?
When it comes to developing online, evolving games or game-as-a-service, there is less ramp up and ramp down time than during traditional game production. The team working on The Division 2 has managed to respect a healthy work-life balance throughout the project. We’re actively working to prevent teams working overtime, and when it does happen we have very clear rules and communication about the practice. For example, overtime is always paid in accordance with Swedish work regulations. And HR follows up with every team member individually to assess workload and find solutions to strike the right balance.
At Massive, we are intent on providing a healthy and enriching work environment with the goal of keeping our team members with us for 10 years or more. Work-life balance is essential if we want to attract and retain the best talent to continue developing games on the same scale and quality as The Division 2. We were rated as one of Sweden’s most attractive employers amongst young professionals in 2018, so we’re pleased with how our efforts are paying off so far.
Pixar’s latest movie, Toy Story 4, opens in theatres this weekend. Ahead of that, reviews for the animated film have started to appear online, and they’re largely very positive.
To help you get an idea about if the movie is worth your time and money, we’re collecting excerpts from reviews from a variety of outlets across the internet. Scroll down to see a sampling of these, and maybe it’ll help you decide if you want to see the film or not.
You can also check out this silly video in which Tom Hanks, who voices Woody, speaks to Jimmy Kimmel about all the things he’s supposed to say–and not say–when giving interviews about Toy Story 4.
You can see a rundown of Toy Story 4 reviews below, while more information on the film’s critical reception can be found on GameSpot sister site Metacritic.
Toy Story 4
Directed By: Josh Cooley
Written By: John Lasseter, Andrew Stanton, Josh Cooley, Valerie LaPointe, Rashida Jones, Will McCormack, Martin Hynes, Stephany Folsom
Starring (the voices of): Tom Hanks, Tim Allen, Keanu Reeves, Joan Cusack, Christina Hendricks, Patricia Arquette, Jordan Peele, Annie Potts, Timothy Dalton, Betty White, Wallace Shawn, Keegan-Michael Key, Jeff Garlin, Don Rickles, Mel Brooks, Bonnie Hunt, Carl Weathers
Release Date: June 21 (United States)
The Guardian
“It may only be a repeat of earlier ideas and plotlines, but compare it to the fourth films in other franchises and Pixar’s latest is an amusing and charming gem.” — Peter Bradshaw [Full review]
Chicago Sun-Times
“If this movie doesn’t touch your heart, you’d have to be as lifeless as the toys pretend to be when humans are in the vicinity.” — Richard Roeper [Full review]
New York Post
“Unfortunately, knowing the characters as well as we do now, and with a finite amount of mischief that miniature toys can get up to, Toy Story 4 at times feels more like a high-budget episode of television than a sweeping film.” — Johnny Oleksinski [Full review]
The Hollywood Reporter
“With some Pixar franchises having worn out their welcome and lent the impression of a capitulation to Disney’s desire for more sequels at the price of less preparation and care, this one conveys the confident feel of a creation that, as a big man used to say, has not been served before its time.” — Todd McCarthy [Full review]
The Los Angeles Times
“Toy Story 4 will blow you away in ways you won’t be expecting. It’s something new from a computer-animated series so antediluvian that director Josh Cooley was in high school when the Pixar original came out back in 1995.” — Kenneth Turan [Full review]
The Wrap
“After the unalloyed triumph that was Toy Story 3, did we need another sequel to the popular Pixar series? Not really. Now that Toy Story 4 exists, does it tarnish the reputation of a franchise that is the gold standard in contemporary American animation? Not in the slightest.” — Alonso Duralde [Full review]
