Here's how the Nintendo 2DS compares to the 3DS

Nintendo's announcement of a new handheld system dubbed the Nintendo 2DS, a revision of its Nintendo 3DS but without the stereoscopic 3D display feature, was met with bewilderment this morning. Based on name alone, the system sounds like a generational step backward from the 3DS, touting the feature that it "plays in 2D," just like every other Nintendo handheld system to date.

The Nintendo 2DS still plays 3DS games (and "more than 2,000" games released for the original Nintendo DS), Nintendo says, just without the stereoscopic 3D features.

Save for a new external hardware design that's more like a slab than the folding clamshell of the 3DS and DS, the new 2DS is almost functionally identical to 3DS.

According to a spec sheet from Nintendo, the screens on Nintendo 2DS are the same size as the current 3DS model. The upper screen measures 3.53 inches and the lower screen measures 3.02 inches. Those dimensions are smaller than the 3DS XL, which has screens 4.88 inches and 4.18 inches in size.

The 2DS, 3DS and 3DS XL all feature the same motion sensor, gyro sensor and inner and outer cameras. Nintendo 2DS features a dedicated sleep button — a low-power mode achieved typically by folding the 3DS closed — and drops one of the built-in speakers. Without headphones, the Nintendo 2DS outputs mono audio.

The battery on the Nintendo 2DS appears to have a slight edge on the 3DS. Battery life while playing 3DS games on the 2DS is approximately 3 to 5.5 hours. While playing DS games on 2DS, battery life is listed as 5 to 9 hours.

Nintendo 2DS, thanks to its "fixed, slate-type form factor," is Nintendo's biggest handheld, measuring 5 inches high, 5.67 inches wide and 0.8 inches thick.

Despite a naming scheme that seems perplexing, with the Nintendo DS, 2DS and 3DS all currently being sold and marketed, the 2DS' support of games for the last-generation DS and current-generation 3DS should limit buyer confusion.

Nintendo's approach with the 2DS is clearly a value play; it says so right on the company's comparison of the "Nintendo 3DS Family" which labels Nintendo 3DS the "compact" option, the XL the best choice for "largest screens" and 2DS for value.

At $129.99, the Nintendo 2DS is positioned between the last-generation Nintendo DS — which Nintendo sells for $99.99, but on which game releases have slowed to a trickle of mostly movie and TV license-based games — and Nintendo 3DS, which starts at $169.99. It's an entry-level device, capable of playing just about every portable game Nintendo currently sells, but without the stereoscopic "glasses-free" 3D feature that seemed like a product of Nintendo responding to a quickly fading entertainment fad.

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Shelter review: Badger over troubled water

It's 3AM, and I am not a happy badger.

I've restarted this level at least five times now. It always ends the same way, on the same barren stretch of land between the comforting cover of the underbrush and the inviting darkness of the tunnel that marks what I think is the end of the level. The eagle strikes as we're halfway across; too far to return to the underbrush, but not close enough to reach the tunnel without the feathered git making off with at least one of my cubs. This is my last shot at the level. I've come to accept that I have to lose one of my children to proceed – that the game won't let me reach its finale without at least a taste of loss – but I'm already composing an angry email to the developers in my head. You can't just betray the player's trust like this; narrative be damned.

A rush of displaced wind and a terrified squeak lets me know I can open eyes and see which one of my cubs didn't make it. The one with three stripes. He was my favorite. I scrap the angry email idea and elect to send them a live badger by airmail, that'll teach them.

Then something amazing happens. There's a noise; one I haven't heard before. I turn, and the missing cub saunters through the tunnel entrance, apparently unperturbed by his brush with mortality. Is this a scripted event or a random occurrence? I have no idea, but at that moment it's irrelevant. My cub has escaped certain death, and I am elated.

Such is the sole real triumph of Might and Delight's Shelter. For all its failings, and there really are quite a lot of them for such a small game, it did make me care.

Shelter (8/28/13)

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While many games address parenthood in somewhat abstract terms, Shelter bravely tackles the theme head on. You play a mother badger, tasked with escorting her litter of cubs from a depleted burrow (albeit one with a striking view of a nearby waterfall) to more fruitful pastures. For those of you who just read the word "escort" and started scrambling for the exits, be assured that Shelter avoids many of the pitfalls associated with the dreaded escort missions of yore. The cubs aren't the brightest, but they'll stick to you like glue, stopping only when they spot something to eat.

The food system is definitely the most interesting idea in Shelter. Each of your cubs, helpfully distinguished by the arrangement and number of stripes on their back, will slowly fade from a rich brown to a light grey as they grow hungrier. To feed them, you must hunt down root vegetables, catch frogs and small rodents, or knock down apples from trees with the judicious use of your skull as a makeshift battering ram. The unstoppable eating machines will run toward and eat anything left on the ground, but you can also pick up food and give it to specific cubs. There's a real potential for tension here, as picking which hungry cub you want to feed while they squeak and jump for attention can be a difficult decision. Likewise, taking food from one cub to give to another will make you feel like the biggest bastard in badger-land. Unfortunately, none of that tension ever shows up, as the game is far too generous with food resources. The levels are littered with veggies and apple trees, so much so that even the worst hunter will have no trouble keeping the cubs well fed. The game is far too easy as a whole, but it's disappointing to see what could be a sublime mechanic undermined by what is essentially poor level design.

Shelter is light on other ideas, with most encounters simply boiling down to moving at the right time and accounting for the cubs' slower running speeds. You'll spend the majority of your time simply waiting for danger to pass and then dashing to the next haven. Realistic, perhaps, but not fun in the slightest. You ford rivers by lunging from safe area to safe area between waves. Eagles, beautifully represented by tribal-style shadows projected onto the ground, stalk certain places, but you'll end up avoiding them in the same way, by sprinting from cover to cover and hoping you get the timing right.

There is an attempt to mix up the gameplay with an ill-explained nighttime level that sees you trying to keep the cubs within a certain radius of their mum. Let them stray too far, which they will because they dart in random directions in response to noise, and they'll be snatched up by invisible wolves. That's about as fun as it sounds. In a later level, you have to guide the cubs through a raging forest fire. Dodging falling branches and grass fires should be exhilarating. Instead, it ends up being exactly the same experience as the previous levels, only at a marginally faster pace.

And that's really all there is to Shelter. It's very short, clocking in at only a couple of hours at best, yet it still manages to run out of ideas well before you reach the last of its linear levels.

The save system doesn't help. Losing a cub should be the emotional focus the game, your diminishing number of young serving as both a grim version of a lives counter and a reminder of your past failures, but even that is imperfect. You can subject yourself to the pain of losing or a cub, or you can simply quit and restart the level with a fresh set, with no negative penalty for doing so. Is this the badger-equivalent of save scumming? Possibly. But Shelter would be far more effective if its structure gave more permanence to your losses.

As for what Shelter does right: the game is gorgeous. Its textures aren't really "textures" at all. Rather, they're somewhat abstract paintings of the objects they're meant to represent, pasted onto simple, angular models reminiscent of folded paper sculptures. Think models of trees, covered in tiny pictures of trees. Each of the levels sports a unique color theme, and while the high-gamma might send some of you diving for the black-level controls on your monitors, it does serve to make the burrows and dank caverns that represent safety that much more inviting. While the smaller models look good, it's the large abstract backgrounds that steal the show. The second level's night sky, which looks like the kind of wallpaper you might buy for a space-obsessed toddler, is particularly beautiful. It's a clever bit of thematic reinforcement when you think about it; a game about children that all but resembles a child's pop-up book.

The sound is similarly abstract. Important information, like the location of the cubs or nearby animals, is presented via competent, but not brilliant, sound effects, while the general goings on of the forest are conveyed through evolving drum beats and acoustic guitar riffs. It's certainly an interesting approach to environmental audio, but some of the arrangements – the fox theme from the first level for example – wear out their welcome very quickly.

Ultimately, Shelter may be a victim of its own potential as an idea. It sets out to explore a very compelling set of themes, parenthood, responsibility and the casual cruelty of nature, but it ends up doing so in the most straightforward and predictable way possible. It's almost ironic how a game so adamantly about nature manages to feel so unnatural. Looking at Shelter visuals, you can't help but imagine some kind of godly, heart-breaking mashup of The Oregon Trail, Tokyo Jungle and Pikmin. With badgers. What you end up playing is a linear, overly-scripted, not particularly well-executed version of Frogger. With badgers.

                                                       


Via joystiq

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Jackstar888

MEDIA RELEASE

For immediate release:

888poker Announces WSOP 2013 ‘Last Women Standing’, Jackie Glazier, as a New Ambassador for Team 888poker

888poker.com, international online poker entertainment brand, is proud to announce a new endorsement contract with WSOP 2013 ‘Last Women Standing’, Jackie Glazier. Jackie, an Australian female poker professional, joined poker history as the last Australian and Last Women Standing in this year’s World Series of Poker taking 31st place and $229,281.

Glazier is not new to the live poker tournament scene with several wins and cashes to her name, including 2nd place in 2012 WSOP $3000 NLH event for nearly half a million, a win in the $500 PLO as part of 2013 ANZPT ,win in $1070 NLH 2011 Venetian Deep Stack and a win in the $1100 NLH Six-Max event at the 2010 ANZPT.

Jackie Glazier commented on her new sponsorship, “I am so excited to be joining Team 888poker. I look forward to heaps of fun playing poker all around the world with such a great group of people.”

Inbal Lavi, VP of 888poker, stated, “Jackie Glazier is a great representation of women in poker and a big win for our Team. We look forward to her joining our Team 888poker around the world.”

As a new member of Team 888poker, captained by fellow Aussie legend, Shane Warne, Jackie’s first stop will be at the 2013 WSOPE in Paris. Jackie will play in several events, including the €10,450 Main Event. To celebrate Jackie’s new sponsorship with Team 888poker, 888poker is offering its players a chance to join her at the WSOPE in a special $5,750 WSOPE side package freeroll. The Jackie Glazier Freeroll will take place Sunday July 28th @ 20:00 AEST (10:00 GMT – 11:00 BST). First place wins a $5,500 WSOPE side event package and $250 cash bounty on Jackie “Jackstar888” Glazier.

All relevant information on how you can get your FREE seat can be found in here.

For more information about this release or 888poker.com, please contact Global Marketing and PR Director, Jennifer Von Strohe at Jennifer@888.com.

-Ends-

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Killer Is Dead review: Drunk on the moon

I invariably recommend games made by Grasshopper Manufacture to friends, not necessarily because I enjoyed them, but because Goichi Suda's studio produces games that have to be tried. Grasshopper's approach to design can be nonchalant bordering on reckless, and leaves me as secure of their games' quality as I am watching a drunk at a dartboard. Much like someone's who had too many, their games can be hilarious, frivolous, profound, outrageous, offensive, and at their worst downright loathsome, but when it comes down to it I want to be there when they're around - even if it means taking a dart to the eye.

For better or worse, Killer Is Dead is certainly a Grasshopper game, and for the most part it's closer to bullseye than head wound, although it's an absolute shame its one real gash is so very profuse. But then, the good thing about recommending games to friends is that you can tell them which bits to avoid.

Killer Is Dead (7/16/13)

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Killer Is Dead continues Grasshopper's recent trend of third-person assassin games, combining spectacle with fast-paced sword combat. Its core, however, lies nearer to the dark surrealism of sleeper hit Killer 7 than the wacky commentary of No More Heroes.

Certainly Killer Is Dead's protagonist, Mondo Zappa, a 30-something who works for a tax-funded assassination firm, is no Travis Touchdown. Barring the red eyes and sharp suit – and the giant mechanical arm, of course – Zappa is kind of normal. He has the everyman quality of Daniel Craig's Bond; well dressed, well groomed, well loved, but low-key beneath the facade. Zappa doesn't have much to say, and when he does speak, it's prosaic; he and the geeky, narcissistic Touchdown wouldn't get along.

Similar to No More Heroes 2, episodes are selected from an overworld map, and trace through an enemy-filled area before ending in an extravagant boss fight. Much like old Bond films, a dash of exposition preludes Zappa finding himself in some exotic location, fighting off baddies and saving the day. In the bizarre near future of Killer Is Dead, those exotic locations include an Alice in Wonderland-style house plagued by a huge wall-crawling spider thing, and the dark side of the moon, ruled by a man clad only in very revealing golden coils and a matching crown.

The combat, however, is more refined than Grasshopper's previous efforts of similar vein. The hack and-slash swordplay is still centered around battering the attack button while being mindful of when to block and dodge, and special moves and combos remain sparse, but as the game progresses the fights feel rewarding and even challenging – at least on harder difficulties.

Well timed dodges elicit Adrenalin Rush, a mode in which the cel-shaded graphics are swamped in red and black as time slows down to a halt, allowing Zappa to mash swipes and slashes, all as a wonderful choral note rises in the background – very satisfying. Dodges also help Zappa maintain runs of hits without taking damage, and as these build up he collects power that can then be used to re-trigger Andrenalin Rush, except in this instance Zappa just rushes through opponents, exchanging power for brutal one-hit kills.

Killer Is Dead is no DmC or God of War, but its basic systems are more neatly implemented than previous Grasshopper fare. The combat accommodates both flair and speed, and the action around Zappa is not as overwhelming as it looks. It's things like camera angles, the duration of enemy cues, the subtle variations across enemies, the feel of Zappa's dodge, and the careful integration of available upgrades that make me feel like I'm in control of the chaos. The fit is right, and belies combat more limited than it feels - but it's still limited, and it's missing the spark that would take it another level. That spark should've been Zappa's sub-weapon, his cyborg arm.





The mechanical arm sounds great, able to twist into three types of gun and a drill, but in practice it's superfluous. The laser gun is a bit too much of a win button, the drill too clumsy, and the normal gun only useful for the few aerial or faraway opponents. It's only the ice gun, which temporarily slows down enemies, that feels like it integrates well with the rest of the combat. A missed opportunity, given the combat's strength without it.



As for the plot, it centers mainly around Zappa and his backstory, which seems related to the strange goings on emanating from the dark side of the moon, now apparently a tourist location of sorts. Grasshopper can't resist falling back on trademark silliness, most annoyingly with tacky fourth-wall-breaking and references to gamers' wants from action games. Other times it is stronger, like Zappa's deadpan delivery of, "There's no oxygen. Why aren't I dead? Interesting..."

Killer Is Dead is best when it finds a common link between the macabre of assassination and the intrigue of modern Bond films. Zappa wears the suit and gets the girls, but his soul is shrouded in the past, not to mention the job. When he raises his sword to assassinate, the game asks me to hold R1; a narrator says, "Killer is dead," and the scene shifts. One victim's ruby red lips curl into a smile of evil delight as the shadow of Zappa's raised sword looms above, her face lighted in blue as the backdrop behind her becomes consumed in bloody red. R1 is released, and the murder is done.

It's sublime imagery like that, or the moment when the perspective suddenly shifts to the enemy I'm trying to kill, that makes me want to think more on what Killer Is Dead is about. Those moments are maybe not as frequent as I'd prefer, and maybe not as standout as the more experimental No More Heroes games, but the solid combat and considered direction ensures the game's unusual combination of Bond and anime-like bizarre stays enjoyable throughout – mostly.

Head wound time: the 'Gigolo' missions. These are side quests in which Zappa can bed one of his Mondo girls – a play on Bond girls – which he does through tactical leering; the idea is to stare at each Mondo girl's naughty bits while she's not looking. This raises your guts – represented as blood going to Zappa's head – and when that's high enough, you can give the girl a present. Do this enough times and you'll woo the lady into the bedroom, after which she'll give you a present in return.

If the mode is designed to make me feel like a sexist creep, mission accomplished. Like the horribly unwieldy and lifeless overworld of No More Heroes, whatever point being made here (or not) is far from worth it.

The mode is optional, although the ice and laser sub-weapon guns are unlocked by the opening two rounds of the first Gigolo encounter. My recommendation – since we're friends – is do those two rounds, then don't touch the mode again. The campaign's sexuality is edgy enough, its cliched, exaggerated female characters at least feeling more in line with the Bond theme.

As much as the Gigolo mode detracts from Killer Is Dead, like much of Grasshopper's fare there's something to be enjoyed underneath the dirt, and at least this time it's optional. Put that to one side if you can, and Killer Is Dead is a return to form. Its combat is neat if still a bit limited, and its dark direction and weird narrative a bit tainted by self-indulgence, but this is still a Grasshopper grindhouse romp worth most of its issues. The danger, I guess, will always be one drink too many.

Via joystiq

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Saint row 4 review

Being properly, legitimately astonished by Saints Row 4 is an unavoidable eventuality inherent to the experience, but there's something to be said for going in completely blind, as I did. If at all possible, I highly recommend it – Volition's latest is a non-stop cavalcade of self-aware meta-humor and surprising, bombastic gameplay decisions from stem to stern, and to enter the experience with even the slightest knowledge of what's coming would be doing yourself a major disservice.

If you absolutely must be convinced, however, allow me to elaborate on exactly why Saints Row 4 is a modern classic befitting the insane legacy of the 3rd Street Saints.

Saints Row 4 (E3 2013)

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After the events of Saints Row: The Third, The Boss and crew have been called into action to aid MI6 in a covert counter-terrorist operation. Since "covert" isn't really in the Saints' vocabulary, the situation quickly devolves into the kind of explosion-filled mayhem they're more accustomed to. Cut to five years later, and after heroically foiling the terrorists' plot, The Boss has converted the resulting notoriety and fame into a successful Presidential campaign. The United States of America is now a Saints-run operation.

Everything is going pretty well for The Boss until evil alien overlord Zinyak (of the Zin Empire, natch) invades during a White House press conference, kidnapping the entire Cabinet and, eventually, The Boss. Things only get worse from there, when The Boss awakens to find herself trapped in 1950's Steelport – or rather, a computer simulation of 1950's Steelport. The Boss has been trapped in Zinyak's virtual prison and must not only escape the simulation, but find and rescue the rest of the Saints in the process.

From there, the game takes place in both the real world and inside of the simulation,Matrix-style. It's the first of many genre pastiches that make up a decent portion of the game, but somehow Volition avoids making any references or allusions that seem hamfisted or forced. It's always obvious, but it's also consistently clever, which is a hard thing to pull off when making such elaborate pop-culture references. There's a fine line between "this is a thoughtful homage" and "this reference was easier than being original," and Saints Row 4 stays firmly rooted in the former throughout.

Most major gameplay staples from Saints Row: The Third return in Saints Row 4, including the fantastic breadth of character customization options, dozens of different customizable vehicles, buyable ability upgrades and an emphasis on expanding Saints territory through store ownership. Steelport itself is also unchanged topographically, though the feel of the city is quite different due to being under the oppressive thumb of its new alien ruler. The only major thing that doesn't return is the upgradable Crib system – the game even makes a point of demonstrating that Zinyak blew up The Boss' apartment.

None of this is to say that Saints Row 4 is even remotely the same sort of experience, however, as The Boss' new range of superhuman abilities - a side benefit of being trapped in a virtual space - completely alter the fundamental experience of navigating Steelport, as well as the way both story and side-missions are constructed.

Super jumps, ultra-speed, telekinesis – making my way from mission to mission has never been this consistently enjoyable. Locomotion in SR4 is that same kind of destructive, free-flowing madness seen in the likes of Prototype or Crackdown, only with a signature flair of Saints insanity that both delights and exhilarates.

There are eight superpowers in all, each of which can be upgraded by collecting and spending Data Cores strewn across Steelport, and/or augmented with new effects earned by completing quest chains given by members of the Saints. Challenge Missions are also scattered around the map, each one tailored for a specific power: Super-running races, super-jump platforming levels, super-stomp destruction courses, etc. Each new challenge type hits the mark perfectly, consistently proving itself as a worthwhile distraction from the flat-out incredible story missions that weave everything together.

Said missions, while dramatically varied in scope and theme, are still primarily built around combat and gunplay, although there are exceptions to this rule. The game's shooting mechanics function identically to those found in Saints Row: The Third, in that everything is over-the-shoulder and a radial menu grants instant access to the player's sizable armory of equipped weapons.

Gunfights are as solid as they ever were, which is to say remarkably so. Each type of weapon maintains a unique, satisfying feel when used, and each gun is useful at every stage of the game's progression, provided you keep up with the upgrades. This means that I never had switch to a weapon type I wasn't fond of for the sake of utility – so long as I kept pouring money into them, my trusty pistols would always get the job done.

Just as many aliens died at the hands of my incredible superpowers as they did from gunshot wounds, and that's a big part of what keeps SR4 so fresh throughout: The method to my madness was always of my own choosing, and it was as complicated or as simple as I wanted to make it. Sometimes I felt like keeping it classic, rolling into a Zin encampment in a stolen, tricked out rides, firing bullets wildly from every open window.

On other occasions, however, super-powered melee was more apt, with my righteous, glowing fists zooming at near light-speed from one alien beast to the next. In a way, Saints Row 4's combat is a pure distillation of the game's entire design philosophy: Do whatever the hell you want, and feel awesome doing it.

More subtle improvements to the formula have been made as well. Weapons are now customizable, which means The Boss has pretty pink polka-dotted assault rifles to match her pink and purple magical girl outfit. The radio returns, but now functions whether the player is in a car or not – a fantastic creature comfort considering that the player spends far less time in vehicles, on account of their superhuman running speed and gliding capabilities.

All of these iterative changes help keep the gameplay fresh, but a huge part of what truly makes Saints Row 4 such a memorable experience is its phenomenal script and the intangible chemistry between its voice actors. Laura Bailey,Natalie Lander, Arif S. Kinchen and the rest of the cast are so entirely on-point with every single delivery that no joke ever falls flat, and no touching moment ever feels forced or alien to the Saints universe, no pun intended.

Furthermore, the story missions that tie these brilliantly crafted moments together constitute one of the most diverse, madcap and worthwhile single-player experiences I've ever encountered. Every single thing in Saints Row 4 is worth doing, which is a huge accomplishment on its own, but its story missions in particular are inventive, hilariously unexpected examples of truly inspired game design.

I was worried that Saints Row 4 would never be able to live up to Saints Row: The Third, that its status as an expansion-turned-full-game would translate to a sloppy experience built on filler and same-y gameplay. Thankfully, Volition's skill for building a living world, lovable characters and ingenious gameplay is as sharply honed as ever. Be it in Steelport, a computer-generated simulation thereof or the very depths of outer space, the Saints rule everywhere.

Sourec: JOYSTIQ

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