Battletech Review – Slow And Steady

Enjoying Battletech takes time and patience. Born from the decades-old tabletop game of the same name (which also gave birth to the Mechwarrior series of games), the Harebrained Schemes version of Battletech places the universe into the genre most suitable to its origin: turn-based tactical strategy. It’s a successful endeavor in that playing Battletech very much feels like playing a complex board game, both for better and worse. There are deep systems to be found in its meaningful mech customization, detailed combat scenarios, and enjoyable fantasy of running an interplanetary mercenary outfit. But reaching the point of thoroughly enjoying Battletech requires the willingness to weather its steep learning curve and laborious pace, which can sometimes veer into excruciating territory.

Individual missions in Battletech are protracted, plodding conflicts, averaging around 45 minutes in length. You command a group of four battlemechs, each piloted by unique and specialized pilots, with the goal of either blowing something up or keeping something safe against outnumbering forces composed of hostile mechs and vehicles of warfare. The enormous mechs of this universe are the lumbering, industrial behemoth kind, bulky tanks with legs characterized by ugly chassis and weapons overtly fused to their limbs. They are graceless, unwieldy machines, and Battletech doesn’t hesitate in belaboring their nature as they slowly trudge through the game’s vast, sprawling maps like pieces on a military sand table.

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Observing a unit’s actions play out can be a quite a process. You’ll watch them steadily stomp to a point on the topological grid-based terrain, leisurely rotate their torsos to their designated angle, wait for their weapons to spin up, watch the weapons fire, and wait again for a few moments as the damage report comes in to assess the aftermath. Mech animation speed aside, there are often pauses during this string of actions that feel unnecessarily egregious, and given the number of turns that need to be played out, long missions have the capacity to feel never-ending. There are more exasperating examples, too–during escort missions you’ll find yourself watching up to four autonomous convoy vehicles taking turns to crawl through the map, slowly and one at a time, and the display is nothing short of agonizing. At the time of writing, there is a debug mode you can use to help artificially alter speed, but these are not officially endorsed options. By default, Battletech debilitating pace, combined with the game’s lacking tutorials, firm difficulty, complicated UI, and persistent technical stammers mean the experience of Battletech’s early hours can be tough to brave.

But it’s worth it. Growing acclimated to Battletech’s attrition-focused warfare and making enough of your own critical mistakes to get a handle on its systems feels liberating, when it eventually happens. Being able to parse initially obtuse information allows you to internalize and appreciate the suite of mechanical nuances and helps you recognize the game’s detailed and hard-nosed approach to strategy. Like any great tactical game, each decision requires multi-faceted risk analysis for the best possible outcome. But the joy of good choices in Battletech doesn’t come from bombastic maneuvers where your team precisely eliminates a whole enemy squad without a scratch, as it might in XCOM or Into the Breach–that’s an impossible scenario here. Being truly successful in Battletech relies on being prepared to get into scrappy, aggressive fighting, and coming to terms with what an acceptable loss might be to you at the time, whether that’s an objective, a limb, or the lives of multiple pilots.

With only four mechs to eliminate a larger number of adversaries in a turn-based ruleset, with no allowances for mid-combat repair, learning how to maneuver your mechs in order to endure a reasonable amount of damage becomes one of the most gripping aspects of decision making–how far do you push yourself to take on enormous odds? On the battlefield, this might mean something as simple as studying the impressively varied terrain in each map and finding the most advantageous spot to hunker down, or using buildings, forests, and mountains as cover during an advance. But on a more advanced and necessarily specific level, it might mean rotating your mech to present a fully-armored side to an attacking foe and obscure a side already damaged. Taking additional damage to a body part stripped of armor can result in structural damage or loss of limb, requiring replacement and repairs at significant cost, on top of running an increased risk of having your mech pilot permanently killed.

Similar considerations are always on your mind when you’re on the offensive. You might decide to temporarily switch off some of your weapons when attacking to avoid overheating your mech, which can cause immediate, all-over internal damage. One of your mechs might be out of ammo but has the option of using its jets to leap off a mountain and crash onto an enemy below to knock it down–but can you afford the risk of breaking both your legs and being floored yourself?

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With a complete understanding of how each unit can affect another at different locations, with various skills, weapons, and modifiers at play, your perception of unfolding battles becomes one of utter fascination at the minor details and outcomes of each strike. Seeing the battlefield in a different way in order to devise your own alternative approaches and formulating creative backup plans are things that begin to occupy your thoughts, instead of the tempo. Conflicts are still lengthy, and some drawn-out maneuvers still feel unnecessary, but with the time devoted to each turn, you start to use it to observe and internalize what exactly is happening and why. Pivotal turning points in a battle can be narrowed down to the exact action, which can become tactical learnings for future use. There are still a few random elements that can occur, attributed to the probabilities that drive attack calculations–lucky headshots that instantly injure your pilot regardless of armor durability are the prime unfair example–but regardless, the increased focus and time spent on each distinct action means that the anxious feelings that come with even the most trivial of anticipated hits and misses are amplified tenfold.

Battletech also gives you an interesting ability used to preserve your squad–when a mission becomes overwhelming and dead pilots are almost certain, you can choose to immediately withdraw from a mission, at the cost of sullying your reputation with the factions that hired you and surrendering your paycheck. The latter is an especially vital consideration, because money quickly becomes a huge concern in Battletech’s campaign and begins to affect all your decisions, both on and off the battlefield.

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The dynamic between the tactical battles and logistical management means almost every decision you make feels like it has rippling, tangible consequences elsewhere. The campaign sees your custom character rise to the leadership of a mercenary company which has accrued an enormous debt, with monthly repayments to meet every month. Naturally, everything costs money, from post-mission repairs, mech upkeep, pilot salaries, ship upgrades and even travel costs–this is a game about business management as much as it is about commanding a squad. Accepting missions allows you to negotiate a contract to determine what your fee should be in relation to your post-battle salvage rights (valuable for maintaining and upgrading your mech configurations as well as unlocking new models) and faction reputation, which opens up more lucrative opportunities. Request too little money on a mission you take carelessly, and the cost of mission-ready repairs afterward might send you into bankruptcy. Without enough salvage and spare cash to play around with, you’re impeded in your ability to play with one of the most vital and enjoyable parts of Battletech: building and customizing individual mechs to improve the combat capabilities of your squad.

There are close to 40 different models of stock mechs, varying in tonnage and intended purposes. But the joy of spending time in the mech bay is experimenting with different configurations using the parts you have on hand. Every alteration you make on a mech is at the sacrifice of something else–you can carry more weapons and ammo at the expense of dropping things like heatsinks and additional armor plating, for example. Taking the time to fine-tune that balance and seeing your decisions translate into a more efficient unit on the battlefield feels exceptionally worthwhile.

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The lore and epic narratives of the Battletech universe are as important as the mechs themselves, and this game puts a heavy emphasis on them. The main plot begins with the coup of the head of a parliamentary monarchy–your custom character’s childhood friend–and continues as you regroup years later to rally forces and take back the throne. The recorded details of the fictional history and politics between factions are unsurprisingly scrupulous–glossary tooltips for universe-specific concepts litter the game’s text. But there are enough broad strokes and familiar feudal parallels to enjoy it at face value, and the comprehensive presentation–well-written and diverse characters, beautiful 2D cutscenes, inspired soundtrack, crunchy sound design and convincing radio chatter–do more than enough to completely sell this brand of mecha fantasy.

Battletech is a game that selfishly takes its time to be meticulous in every respect, and pushing through the density and idiosyncrasies of its many, slow-moving parts can be tough. But if you have the will to decipher it, albeit, at a deliberate and punishingly plodding pace, you can find yourself completely engrossed in its kinetic clashes. Battletech’s intricate components ultimately foster a fascinating wealth of nuanced systems that build a uniquely strenuous, detailed, and thoroughly rewarding tactical strategy game.

9 Awesome Moments in State of Decay 2 on Xbox One X

State of Decay 2 is right around the corner and with it your next crack at surviving the zombie apocalypse by putting together a community of hardened, but flawed, survivors and scraping together a shelter to weather to the storm.

But while we wait for its May 22 release on Xbox One and Windows 10 PC – or May 18 with the Ultimate Edition early access – we recently went hands-on with a demo version of the game running on the Xbox One X. Above you’ll find a number of cool moments lifted from our gameplay that highlight what you can expect come launch day.

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State Of Decay 2’s Co-Op Isn’t Messing Around

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State Of Decay 2 Is All About Desperation In A Zombie-Apocalypse Fantasy

The original State of Decay on PC and Xbox 360 was a big hit for developer Undead Labs. Fulfilling the fantasy of scavenging an open-world during the zombie apocalypse, it forced players to make tough choices to keep their crew of survivors alive–all while avoiding packs of undead looking to disrupt their fragile community. Now, four years later, State of Decay 2 is approaching its May 22 release, and the team at Undead Labs–including founder Jeff Strain and design director Richard Foge–were keen to share what they learned from their past success at a recent press event for the upcoming survival game.

For more content on State of Decay 2, be sure to check out our impressions, along with videos about our experiences exploring the world in co-op play.

GameSpot: Since State of Decay came out, survival games have really picked up, especially on PC. It’s a really popular genre. To Undead Labs, what makes the genre great?

Jeff Strain: Well, survival is a very broad bucket. You can say that DayZ is one kind of survival, and Fortnite and PUBG are other kinds of survivals. Our specific incarnation of it is a little bit different, in that it’s more of the long game through survival. It’s a game of investment for your survival. And what’s interesting to us is that the formula that we have of this core loop of the open sandbox simulator world, the RPG characters, the base building and all the simulation mechanics, and going out in the world, scavenging resources, bringing them back, investing them into your base and building out long term infrastructure. That hasn’t been done. We still feel like that particular formula is one that is unique to State of Decay, and that’s why we call it survival fantasy.

I think one of the reasons it really resonates for us is because it’s playing to a fantasy that a lot of people have completely aside from video games. The way this game started, literally was me sitting around with some friends after seeing a zombie flick and comparing our survival plans. “What would you do? What would you do?” That phrase right there, “What would you do?”

One guy was going to go to Costco and board up the doors. One guy was going to go out and commandeer the Washington State Ferry, and go out to sea and isolate himself. Like, everybody had their own plan and that was like, no game captured that, right? And that’s what we wanted to do.

Why don’t you think anyone has taken that on before you guys?

JS: I don’t know. When we first announced the game, people said, ‘Eh, does the world need another zombie game?’ We sold 5 million copies of State of Decay. It turns out that it really resonated with people. And I’ll tell you–I think the truth is there’s a lot of people in the world for whom if the zombie apocalypse broke out tomorrow, they wouldn’t be entirely sad about it, right? It’s a chance to put your own wits to the test.

I may not have been the high school football star, I may not be a Wall Street wolf, right. I may not be a captain of industry, I may not be the hottest, most buff guy, or the most beautiful woman on the planet. None of that matters in the zombie apocalypse. The only thing that matters is how smart are you and can you marshal the diminishing resources here and pull all this stuff together and survive when other people who don’t have the same unique insight or skills will perish. It’s like an alternate reality where you can be a superstar, and I think that really appeals to a lot of people. It appeals to me.

How has development been going for State of Decay 2 during the time since the release of the original game? And what sort of fan reactions stuck out for you?

Richard Foge: When we first set out to make games at Undead Labs, we had a vision for this long term big picture of what we were gonna make, which was this crazy zombie MMO thing. After the first State of Decay came out, folks were responding to it very positively. They loved how the first game worked. They loved the intimacy of it, kind of that small town vibe. They loved playing it. What they were asking us for wasn’t an MMO. But what they were asking for was loudly saying, “I just want multiplayer. I just want co-op.” I feel like it’ll be weird if suddenly it’s this MMO, massively populated with people.

We were in this really great position of being able to listen to people who already love the game, and make [the game] they were looking for, instead of trying to make this thing that we had thought of years before, you know, this stepping stone into that [MMO]. Development of the game took a long time. Transitioning [graphics] engines was a big deal, getting your entire development team up to speed on new tech and all the stuff that went into making this game look better and feel better over the last several years.

What was one of the biggest lessons that Undead Labs took away from the original game that you all were more cognizant of for State of Decay 2?

RF: It’s interesting because one of the biggest lessons came from one of the DLC packs we released. We introduced sort of an endless mode to the game called Breakdown, where you could kind of keep going with a community from one place to the next while the difficulty was increasing. The thing [fans] liked about it the most was that it didn’t have a linear narrative. It had a structure [related] to what was going on, but it really let players control the pace and respond to the events that were taking place in the world; [it let players] really make their own stories with their communities. It didn’t have any specific starring characters–except for Lily–who kind of was just a necessary component that we couldn’t get rid of.

That was one of the key inspirations for the structure that we have in this game. We wanted it to be the case that players were experiencing their own unique stories. [We wanted] the choices they were making about how this community was going to survive to drive the story of that community as opposed to a linear arch that everybody [would] go through.

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State of Decay 2’s narrative is more intertwined with the world simulation. How does that work, mechanically? What does progression look like in State of Decay 2?

JS: Think of every character you rescue as having story potential. You saw they each have their own unique traits and backgrounds, and there are missions and dialogue chains and things that can happen that come along with that character if the conditions are right for them. There are decisions that have to be made that dive into ethical quandaries, and what you say will result in events that can affect your community’s overall morale. All these [aspects of the game] can flow in to how those potential stories express themselves and when you have a community of eight or 10 different survivors in it, then there’s always something triggering and happening.

There’s definitely a classic narrative structure–a beginning, a middle, and an end where all these things can happen. Every play through the game is effectively the story of your community. And as you go through it, by the time you finish with that community, you will feel like your time there has been defined by a story that you’ve helped define. And it’s different for everybody who plays.

Co-op is hard to do, especially with big games like this. What are the limitations of co-op in State of Decay 2? When I join someone’s game, what persists, and what doesn’t?

JS: We really thought long and hard about how we were going to do multiplayer in State of Decay 2. The fans of the original were not asking for PvP. They were not asking for…

Battle royale?

JS: They weren’t, right? All they told us was, ‘I love State of Decay and I want to play with my friends.’ And so we did some soul-searching and said, should we just do that? And so the goal was very much, let’s take that core desire and make it as easy and frictionless as possible. And we didn’t want to get in to, [registering] ownership of communities together and when one person leaves do you divide the resources?

Instead, it’s just very simple drop in and drop out. I’ve got my world, you’ve got yours. You can come play with me as much as you want in my world. I’m going to play with you as much as you want in your world. When you bring your characters in, they have access to all of the facilities. They can craft things. They can get medication or take advantage of the infrastructure that you’ve built. They can help you round up supplies and rescue other characters for the base. Find things in your world. Any weapons, or items, or firecrackers, or C4, or whatever I find in a world, I get to keep. My character dies in your world, my character’s dead.

Even though there’s all these characters to play as, it seems like the setting itself–the areas you go to and the overarching zombie-apocalypse–is the true central character. And many of the survivors are these secondary characters coming in.

RF: That’s a really interesting perspective. If you take in a lot of really popular zombie fiction right now, in particular some of the shows, you’re following a specific set of people. They’re interacting with other sets of people. That’s pretty much what you’re gonna be doing in State of Decay, interacting with these sets of people. If you’re able to zoom out a little bit further and take the big picture in, would you care about this group of people quite as much [as you do] about their drama? Not necessarily, but it’s meaningful because you’re with them. You care about it because you’re invested in their journey. That’s the relationship we’re looking for players to have with their communities in State of Decay 2. The world story, what’s going on, the setting–that’s kind of the big picture.

Imagine how weird it would be for us to have this online multiplayer about this open world that’s supposed to be about you, if they showed up and it was the exact same character in maybe a different part of the story than you are in. We felt that would be kind of disruptive to the overall feel of the game experience that we wanted folks to have, to literally be playing the same story from different perspectives.

Was there one thing that sticks out for you as something that Undead Labs was able to accomplish?

RF: Honestly, a big part of it is being able to capture the feel of State of Decay and still have the multiplayer involved. I’m very proud of that, that we were able to achieve something that makes it feel like this is your story. You’re having a separate story and basically we’re all existing in the same continuity in this world simultaneously. I feel like when we play together, [in] multiplayer it really does feel like I’m bringing somebody who is surviving over into this spot. I’m really proud of the way that the game cohesively works in that way.

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Aaron Greenberg has previously said State of Decay’s price point ($30 USD / £22 GBP / $40 AUD for the base game) was because Microsoft wanted to build a long lasting community and get a lot of people into it, does that ring true to what you originally had in vision for State of Decay 2?

JS: We want to grow, and support, and nurture, and build the State of Decay series for a long time. I would far rather have 5 million players paying $30 than 2 million players paying $50, right? And regardless of the math on that, it’s just a statement to everybody, that our goal here is not to throw something over the wall and make as much money as we can on it, and then move on to something else. We’re in it. It’s a lower price than you would normally see, but we hope the trade-off is that will have a much longer [lasting] community that we can build a relationship with over time.

You obviously have set up State of Decay to easily incorporate additional content such as new maps. That’s definitely something on the cards?

JS: Yeah, yeah. Absolutely.

With Xbox Game Pass, first party titles will be included at launch–which includes State of Decay 2. How does that model affect the success of this game and how does it affect you guys as a business?

JS: Game Pass is a funnel. It brings people into the game. If you take the long view and envision that you want to have customers over a period of years, rather than months, then it makes sense to bring as many people into the game as fast as you can. Build a relationship with them. Get them enjoying what you’ve made. And then, give them new stuff to buy over time. Shopping is fun when you love what it is that you’re buying.

We’re obviously always going to be very respectful–we’ve already been on record saying that this is not going to be a loot crate game. This is not going to be an energy [-based] game–there’s no zombie coins in the game. We’re not [working on] a microtransaction business model, but we are definitely going to say, “Hey, you guys are enjoying the game, here’s [our] Daybreak DLC, a big new expansion to the game; here’s a whole new mode you can play; here’s some entire new maps with new missions and new challenges.” That’s the kind of relationship we want to have, where we announce something like that and everybody says, “Awesome, I’m all in, because I love this game.”

Undead Labs is an independent studio–am I right in assuming that Microsoft owns the State of Decay name?

JS: They own the name and the specific incarnation of it, yeah.

Do you think that would ever put a limit on Undead Labs and what you guys want to do with this series? Or has it ever had any effect?

JS: Look, Microsoft backed a game that nobody in their right mind should of touched.

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Were you having trouble before Microsoft came along?

JS: Nah, we talked to them from the very beginning. I mean, we’re in Seattle, they’re in Redmond. I knew that I wanted to build a great console game and a great PC game, and it just made sense to work with them. But going out with a game that’s permadeath, which at the time in 2009/10 when we started developing nobody [was doing]. That’s game design 101. You don’t do permadeath,are you guys on crack?

And now it’s all the rage.

JS: And also with that just kind of general formula that I was talking about, there were no comparables. Big publishers get nervous when they can’t say, ‘Oh, it’s like PUBG, only it’s got dragons.’

So we came up with this grand vision for what this thing could be, and to their great credit, [Microsoft] said yeah, let’s give it a go. And so they’ve been a good partner and as long as we’re making State of Decay games, Microsoft will be our partner in that.

Now, you’re a big D&D guy…

JS: How do you know?

It’s in the bio Microsoft sent me.

JS: Oh, that’s right. Does that say that in my bio? Okay.

You’re a Dungeon Master, so you must have a lot of ideas floating around your head. Do you have any grand ideas for games that don’t involve zombies?

JS: Yeah.

And are those things you might want to pursue in the future?

JS: Absolutely.

Do you think the name ‘Undead Labs’ restricts you in branching out too much?

JS: Well, there are undead in D&D, aren’t there?

Good call.

State Of Decay 2 Still Feels Rough, Despite Some Promising Ideas

In theory, I like everything about State of Decay and its upcoming Xbox One and PC sequel. I like the idea of a zombie-survival game where you must plan for the long term; where you must keep your squadmates happy, healthy, and well-fed; where you can explore to cultivate new land for farming opportunities or to scavenge; and where permadeath means hours of hard work can be undone in seconds.

Unfortunately, on the basis of a three-hour preview demo, State of Decay 2 suffers from many of the same issues as its predecessor: It still feels a little aimless, and it’s still never really clear what direction the game wants you to go in, since every direction is so punishing to traverse; the loop of exploration and defense soon begins to feel tired; and a multitude of bugs and some poor presentation make it feel unfinished. Which, of course, it is. Many of these issues could therefore be fixed by the time State of Decay 2 launches on May 22. But they’ve persisted since the original came out in 2013, and that’s a worrying sign.

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State of Decay 2’s big new feature is the addition of multiplayer, allowing you to drop in and out of co-op play with up to three other friends. Tearing around the game’s world with mates is fun, though it taking place entirely in the host’s world means your actions ultimately have little consequence outside of death or a gain of Influence (which can then help your character’s standing in your own game). This makes multiplayer trips evoke the feel of a wind-swept American road trip or a silly session blowing everything up in GTA more than a serious, punishing journey into the unknown.

Again, I like the idea of State of Decay 2’s co-op, but in practice it is not realized well. Only the host can select quests, for example, and it’s not totally clear who the host is. Worse than this, you can only travel a short distance away from the host before the game pulls you back to your friend’s approximate vicinity. Why can’t our team of four split into two pairs to approach a target from opposite directions, or go off to accomplish separate objectives? You’re forced to stick together, which makes it even more frustrating when you receive a notification to say your base is under attack–why can’t one of our squad remain at home to defend us from opportunistic zombie hordes?

This is a problem still seen in single-player, since you can’t swap allies on the fly without abandoning your current mission. Because of this, I always felt progress in expanding my base and charting new areas was hindered–I was forced to cancel mission after mission because my base was under assault, or because my current playable character needed supplies I didn’t have, or because I required another survivor’s expertise. I never felt like I was getting anywhere or achieving anything. Who knew the zombie apocalypse would be so punishing?

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Even the game’s main strengths–its core systems of character progression and resource management–aren’t the accomplishments they should be. On one occasion, I went to the aid of a rival settlement, led by a man named Magic Mark, who had turned to us in their time of need. Despite our groups’ past disagreements, Mark asked if I could urgently help them find food. I agreed, but the game refused to let me take any of his group with me on my quest, so they all just stayed put, standing around doing nothing in their garage base (which, incidentally, looked like every other garage I saw in State of Decay 2). I then decided to steal the group’s belongings from right in front of them, but they didn’t care one bit. Don’t mind me guys, I know I said I’d bring you food but actually I just wanted your shotgun pellets–I’ll be out of your hair any minute, alright?

As someone who only played a little of the original game, it doesn’t yet feel like State of Decay 2 has meaningfully built upon the promising core of its predecessor. If it can fix the annoying geometry glitches, refine its AI, and allow greater freedom within co-op squads, it may yet turn out to be a fun zombie apocalypse simulator, but until then, I think I’d rather leave Mark to conjure up his own food supply.

Xbox E3 2018 Briefing Will Show Support For Games From Japanese Publishers, Spencer Says

E3 2018 is coming up relatively soon, and now we’ve learned more about what to expect from Microsoft’s Xbox briefing at the big-time gaming show. Xbox boss Phil Spencer said on Twitter this week that you can expect Microsoft to show off some games from Japanese publishers on its stage. That’s the plan right now, but Spencer noted that plans can change.

“As of now, yes,” Spencer said to a fan who asked if JRPGs would get stage time. “Things can change, but like last year, I wanted to make sure we supported our Japanese publishers on our stage and this year we are working to do the same. It’s important to us.”

That’s all he had to say on the subject. It’s not much, but it’s nice to see Microsoft’s commitment to talking about and showing off Japanese games during the year’s biggest show. We will of course have all the news from E3 in June as the show unfolds. Last year, Microsoft’s E3 briefing included games from Japanese publishers such as Code Vein and Dragon Ball FighterZ.

Also on Twitter this week, Spencer said Microsoft’s post-E3 plans this year will be “a bit different” than what fans have become accustomed to. “I think people will like it assuming it lands,” he said, offering no further information or teases about this.

Following E3 is San Diego Comic-Con in July, where Microsoft typically has some kind of presence one way or another. Then in August it’s Gamescom in Germany, where Microsoft usually goes big; and then it’s Tokyo Game Show in September. Microsoft doesn’t always attend that show.

Microsoft’s E3 2018 briefing takes place on Sunday, June 11, starting at 1 PM PT / 4 PM ET. Whereas last year we knew that Xbox One X (then Project Scorpio) would be a major highlight, this year’s show remains more of a mystery.

In January, Spencer said that there would be some “positive changes” at E3 for Microsoft, which could have been a reference to the company’s decision to hire out the Microsoft Theatre. One possible announcement from Microsoft this year is Halo 6, which has been discussed but not formally revealed. Microsoft is also said to be working on a PlayStation Now-like game-streaming service.

The Killer: Lupita Nyong’o to Star in Gender-Swapped Remake

Black Panther’s Lupita Nyong’o is reportedly set to star in the remake to John Woo’s The Killer.

Per THR, Nyong’o is in talks with Universal for the lead role in what would be a gender-swapped remake. Woo will helm the project and produce alongside Mark Gordon (Source Code) and Matt Jackson. Luc Etienne is executive producing. A release date has not been set yet.

The remake follows an assassin (Nyong’o’s potential role) who is sworn to protect a young woman she accidentally blinded years prior during a mob hit. The original film came out in 1989 and stars Chow Yun-Fat as the assassin Ah Jong. The landmark action thriller helped introduce Woo to Western audiences.

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God of War Includes Infinity Gauntlet Easter Egg

God of War hides an incredible Avengers: Infinity War-themed Easter Egg, letting Kratos use his own Norse Infinity Gauntlet similarly to Thanos.

The secret was published on the God of War Reddit by user Moxxxxxi who put the pieces together. Players can find a talisman called the “Shattered Gauntlet of Ages” during the “Family Business” quest given by Sindri. The description heralds an untapped power hidden within the gauntlet.

“An ancient relic of Hel deemed too powerful to remain whole, fragments of its former strength lie scattered throughout the realms,” reads the description for the talisman.

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Kevin Feige Thanks Marvel Fans After Infinity War’s Record-Breaking Opening Weekend

Kevin Feige says “thank you” to Marvel fans for Infinity War’s record-breaking opening weekend and the MCU’s continued success.

The Marvel Studios head shared a note on Twitter thanking fans for their support these past ten years ever since the first Iron Man film hit theaters in 2008.

Feige’s note reads:

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