Tuesday, September 27, 2022

Here’s Trombone Champ Being Played With a Custom Trombone Controller

Gaming Twitter belongs to Trombone Champ right now, with tons of videos floating around of people trying (and usually hilariously failing) to play the wacky rhythm game.

If you haven't heard of it, Trombone Champ is a new PC game where you play classical tunes on the trombone, using your mouse or controller to adjust the pitch of the note your Mii-like avatar is playing. If you're even the slightest bit off with your note placement, the note will sound either sharp or flat, just like a real trombone. Unlike other rhythm games that only expect you to hit five buttons to sound like a rockstar, Trombone Champ's hilarity comes from its extreme requirements of precision.

Now, as these things usually tend to go, some folks are coming up with new controller methods to play the game. On Twitter, Rudeism has made Trombone Champ playable with an actual trombone. In the video below, you can watch as Rudeism plays Trombone Champ with a plastic trombone, where an ultrasonic sensor controls the slide, and a microphone controls the dooting.

Rudeism is already working on a 2.0 iteration of the trombone controller, as he 's not happy with the current version's range of motion compared to an actual trombone. Other than that, this looks like a pretty hilarious way to play one of 2022's funniest games.

You may have heard of Rudeism before, as he's known for creating wacky controller setups for popular games. For example, he made Elden Ring playable with a Fisher Price game controller, and made Sifu work with motion controls.

For more on weird control methods, check out the player who beat Elden Ring with the Ring Fit Adventure controller, or read about all the weirdest devices that can play Doom.

Logan Plant is a freelance writer for IGN covering video game and entertainment news. He has over six years of experience in the gaming industry with bylines at IGN, Nintendo Wire, Switch Player Magazine, and Lifewire. Find him on Twitter @LoganJPlant.

Overwatch 2 Boss Interested in Exploring Fortnite-Style Brand Crossovers

Overwatch’s Commercial Leader and Vice President, Jon Spector, has said that he is interested in exploring brand crossovers similar to those seen in Fortnite with Overwatch 2.

Talking to Game Informer, Spector said: "I'm a big anime nerd myself. I think it's super cool when I see Naruto appear in Fortnite. I don't even play Fortnite, but that's awesome. And as we look at the Overwatch 2 space, those are things that we're interested in exploring. If and when we do that, one of our key values is to do it in a way that feels like a great fit for the Overwatch franchise."

Spector added that Blizzard is less interested in displaying adverts in Overwatch 2 in order to fund its transition to free-to-play. The main generator of revenue will be premium-priced battle passes and cosmetics, which in Season 1 of Overwatch 2 will be cyberpunk-themed.

It’s not difficult to imagine Overwatch 2 launching seasons of content themed around other brands. Overwatch has previously crossed over with other Blizzard games for special skins, such as Windowmaker’s Nova and Kerrigan Legendary skins, which reimagine the sniper as StarCraft 2 characters. Brand crossovers could potentially do a similar thing, as it’s hard to imagine Overwatch straight-up putting anime and comic book characters in the game. But who knows what Blizzard are thinking. Afterall, none of us ever expected to be able to do a kamehameha in Fortnite.

For more from Overwatch 2, check out how Blizzard put together the new Portugal map, the origin story for new character Kiriko, and the news that lead hero designer Geoff Goodman has left the team.

Matt Purslow is IGN's UK News and Features Editor.

Creating Overwatch 2’s New Portugal Map, from Tall Towers to Tiny Tarts

Esperança is Overwatch 2’s newest map. Set in Portugal, it pays tribute to the country’s architectural past while also ushering in Overwatch’s future through its streets. As a Push map - the sequel’s tug-of-war-like addition to the menu - it presented the development team with a lot of new challenges to overcome, but equally rewarded them on a professional and personal level. I spoke to Art Director Dion Rogers and Sound Designer Felipe de Mello Pereira to learn more about the design process, but first started with the basics: why Portugal?

“We actually have a huge list of places to go when we're working on a game and the team is a pretty international team”, Rogers explains. “ Actually the lead environment artist for Overwatch 2 is a guy from Portugal, Helder Pinto. Sometimes, when we have a person from the location, we get so much more of the culture and so much of the details. It just comes across a lot better because we have that close connection.”

“I think Portugal in terms of representation in Western media, it can sometimes get dwarfed by its neighbours that also are just explosions of culture and tourism”, states Pereira.

“I'm Brazilian, so a lot of my ancestry is Portuguese and it's always been kind of like this, like my great grandfather is Portuguese and my whole basically lineage up from there,” he continues. “So it's always been this kind of mythical thing where it's like, there's this place that a lot of our culture is from. Coincidentally, my wife and I are like, okay, we're going to go to Portugal finally. We booked the trip and then we started working on the Portugal map at work, and it was like this crazy coincidence.”

You’d assume visiting the real-life location of the map you’re trying to create would only benefit the design process - allowing for the sights and sounds of our world to seep their way into its digital counterpart. For Pereria however, his trip came late in the process and served more as sweet validation for the team efforts.

There's a tram right by the Airbnb and it sounds like exactly what I put in the game. And I was like, yes, I think I did it. 

“People that record 4K walkthroughs of cities on YouTube, thank you so much because I watched a lot of that,” he says. “And I would just watch for hours and just dissect it. Everything that I heard in the city walkthroughs of Porto and Lisbon, I'd write down. And then we contracted a sound recordist in Portugal, in both those cities to record all kinds of stuff, like public spaces, nature sounds, city sounds at various times of the day, interior spaces and exterior spaces.

“I went to Lisbon and it was this super surreal experience where suddenly I'm there. I've been so entrenched in this culture, it feels like, for so many months. And then all of a sudden I'm there and I'm hearing things and I'm like, I put that in the game. I was in an Airbnb and there's a tram right by the Airbnb and it sounds like exactly what I put in the game. And I was like, yes, I think I did it.”

Esperança is packed with small details that really drive home that sense of place. Among them is Antler Antler - an in-universe Portuguese rock band formed from Omnics:

“It's the scene in Portugal”, says Rogers. “There's lots of indie bands and so we thought of making a cool indie band. We wanted to show that Omnics actually formed an indie band in Portugal.”

And of course, the map had to include the culinary delight that’s arguably most synonymous with the country: the pastel de nata:

“I wish they made sounds!”, laughs Pereira. “When I was in Lisbon, not really exaggerating, if I saw a bakery with pastel de nata, I would buy it, regardless of the time of day. So when I was in the map and I saw the artist made them, I'm like, yes!”

Not all art and sound design choices are made for purely aesthetic reasons however, as Rogers found out with the map’s imposing centre-piece.

“I like the tower. It's a good kind of guide, as that's where the push bot starts,” he says. “So getting your bearings is pretty easy when you just take a little glance up. There's a church bell that emits from there too. So I think hopefully subconsciously it's like, I'm being summoned over there. We realised we probably should do that with every push map, some sort of central thing.”

Push is unlike many of Overwatch’s other modes in the fact that its arena has to be symmetrical in order for neither team to have an unfair advantage. This offers a unique challenge for the art team - how do you make sure the whole map remains visually interesting while offering each side the exact same mathematical area to play in?

“You can't create an asset that gives the other side an unfair advantage or they can get on top of and the other guys can't”, Rogers continues. “So we usually go with the staple red versus blue, you know? You notice the colours, one side of the map favours cooler colours, and then the other side favours warm. But I think in Portugal, the construction aspect really helped.

“One of the things Helder pointed out is that, especially nowadays, Portugal is always repairing things. They're always under construction. So part of this helped with our mirrored look on the map. On the blue side, there's a lot of construction elements while the red side is a little more complete. While still maintaining the balance of the mirrored section, it's fair. They take up the same volume, but they have a visual difference.”

It’s not only the visual side that needs balancing. When taking a quiet flythrough the map, traditional Portuguese guitar music can be heard drifting out of bars and restaurants. It's a lovely touch, and one that the team wants players to hear, but never at the expense of the gameplay experience.

“I think I always just want to crank the in-game music”, smiles Pereira. ‘We call it diegetic music, music that exists in the game world, because I'm always so excited when we get that stuff. I'm like, let's crank it, but we can't.

“We have systems in place, a priority system basically that dictates what sounds are heard at any given moment,” he explains. “So obviously, Overwatch being a competitive FPS, combat is the most important thing. So at any given time, if you're in combat, the game is constantly thinking, what are the sounds that need to come through? Because obviously we can't push everything through. There's just too much going on.

If you're in combat, the game is constantly thinking, what are the sounds that need to come through?

“And that's something that's always being tweaked, but generally, obviously enemy fire, footsteps, ults, callouts, those are all the most important things,” he concludes. “Then things like diegetic music and ambience, they'll get ducked and they'll let other things come through.”

If there’s one thing Overwatch players love as much as gameplay, then it’s lore. Splashes of story have been drip-fed by Blizzard over the game’s six-year lifespan and won’t arrive in larger amounts until next year’s PvE content. Those searching for more may well look around Esperança for clues, but outside of a portrait of an important looking gentleman with an omnic arm found in the town’s hotel lobby (which the developers stayed teasingly hush about), this map is more about world-building than world-shattering reveals.

“Sometimes we choose a map based on a hero”, Rogers explains. “Then sometimes we choose a map that's almost purely lore. We want to develop some part of Overwatch's lore through this map. You'll see there's a lot of ecological things going on there with the water barriers and if you fly around the map, you'll see some details related to some technology that we're introducing with Portugal.

“It does connect to the lore of the game world. Not necessarily a character, maybe, not yet, but it does develop something we want to lean into later in the world of Overwatch. So there's a bit of a technology that's in Portugal that we will expand on later.”

“I think the Sea Wall Museum is a good example of that”, Pereira adds. “Here is an opportunity to reinforce some world building. Maybe this doesn't directly link to anything in the main storyline or whatever, but yeah, it's kind of enough lore there to let us do things later. Who knows?”

There's a bit of a technology that's in Portugal that we will expand on later.

It wouldn’t be the first time that an item has been included on an Overwatch map only for the team to fully realise the idea from the seed that had been planted years later, Rogers explains:

“So Route 66, the payload held an egg on it. Then a few years later we introduced Echo. Echo came out of that egg. We always had an idea that there was something in that egg, but the details were still being fleshed out. So we just needed some cool object that the players were protecting on that thing. And again, similar to Portugal, we're laying down a foundation for some future lore later when we can connect the details much more.”

Each of the developers have their own important takeaways from the design process of Esperança. For Dion, it felt like all of the work that had gone into developing Overwatch’s newest mode had culminated with the successful creation of the Portuguese town.

“What's awesome about Portugal, it's built within the 5v5, it only knows the 5v5 world of Overwatch 2. So we do take that into account when designing and doing some of the art for the map. There's a lot of revamped heroes and a lot of new heroes with different abilities. For example, Kiriko is another hero who can climb. So there's a lot of opportunities in Portugal for her to use that ability, lots of second story buildings. A lot more cover than we normally build in a map. This helps to support heroes, one less tank in the group to protect.

“Portugal being the third Push map for the game, we want to have a nice balanced grouping of maps for the game,” he says. “So you have Colosseo, Rome as one and New Queen Street, Toronto. Colosseo is a little tighter when you are fighting over the robot. It's tight quarters and it's a bit of longer sight lines there. And then Toronto's a bit more windy, lots of cool flank routes and kind of an S curve on the overall map. So going into Portugal, we took the best of both of those maps and applied it to Portugal.

“We kind of figured out even more what we need to do with future push maps just by working on purely Portugal. Most of the push maps have been made within the 5v5 world, but Toronto came first so it was a bit of a transition map. We were learning a lot about what it takes to really enhance the gameplay of 5v5. But I really feel Portugal, we captured the essence of it really well.”

For Felipe however, it represents a much more personal, and cultural, sense of pride.

“To give a little context, before I worked on this map, I worked on the Rio map. I grew up in Rio. And so I knew exactly what I wanted to hear in there and what I didn't want to hear. And I knew the subtle things that would make it feel like home.

“One of the things is that it started as a small seed to an idea, but then it became something that was meaningful to me, is just hearing your native language in an Overwatch map. And maybe that's something that English speakers take for granted because the game is natively in English. I know growing up in Brazil, all the pop culture that I consumed came from the States generally, and I didn't hear Portuguese in them.

For someone that's not from the U.S. or not a native English speaker, that stuff means a lot to us.

“We did that in Portugal and in the Sea Wall Museum. I was like, why don't we just have a PA system with someone saying information about the sea wall? And then the writers kind of ran with that. They're like, oh cool. Now we can, on the topic of lore, we can add a backstory to this. The backstory was written, we just didn't have the opportunity.

“How do we access that? How do we utilise information? So that backstory was written already. And then, bam! Now we have an opportunity to showcase it in the map as a little easter egg. For a Portuguese player or Portuguese speaker, if you're walking through the map and you hear your language being spoken to you, it reinforces that you're in this place. I think for someone that's not from the U.S. or not a native English speaker, that stuff means a lot to us. It means a lot to me.”

Esperança will be playable in Overwatch 2 when it launches on October 4, 2022.

Simon Cardy loves any and all forms of custard tarts. Follow him on Twitter at @CardySimon.

Monday, September 26, 2022

Terra Invicta Early Access Review

I've called games ambitious before, but please believe me when I say that Terra Invicta is one of the wildest, strangest, and biggest ideas I've ever seen a single development team try to take on. All at once it's a grand strategy-scale geopolitics simulator, an alien-invasion battler, and a hard sci-fi solar system industrialization simulator with integrated real-time newtonian-physics-driven fleet combat. But while I got sucked into its world, that fresh mix of ideas suffers from some very conventional strategy game failures in its interface, accessibility, and balance.

One part of Terra Invicta is an engaging simulation of a world where secret coalitions manipulate its nations. They fight in the shadows over humanity's response to the threat of an alien invasion, managing national allegiances, research, economies, espionage, and militaries. You take control of one of these seven factions, each of which has its own unique asymmetric victory conditions, and command their leadership council to build a movement that can reach your goals in a fascinating, ever-shifting political landscape.

The other part of it is a detailed simulation of human expansion into the solar system, including the militarization and industrialization of space, the likes of which I've never seen in a video game. It's complete with real-time space combat and years-long travel between solar bodies. Using a jaw-dropping array of near-future and science fiction techs, you're expected to figure out how best to build ships, colonies, and stations able to produce the space resources you need to win the fight.

Either of these two games would be pretty fun on its own, and they both have interesting ideas alongside very cool, well-designed systems, but at times they're so different that the whiplash I experienced just from playing minute to minute got extreme. Terra Invicta's weakest links are the places where these two intricate games come together, and they’re so different that you could very easily love one and hate the other. Even if you love both ideas like me, it isn't exactly easy to walk the walk of alien arrival geopolitics and chew the gum of Newtonian physics-based battles at the same time.

Your early hours will likely be spent just trying to keep your head above water.

Combine that with an interface that's fighting to keep up with the sheer complexity of the mechanics, let alone allow you to manipulate them, and much of your early time with Terra Invicta is likely to be spent just trying to keep your head above water. I lost my first campaign of Terra Invicta after just over 50 hours played, in part due to the frustrating learning experience of working out the interface between space and Earth’s political shenanigans. My battle of resistance ended as alien factions on Earth crippled too many nations, while my efforts in space lost steam amid a confusion of weird mechanics and ship-design woes. It all culminated in a death spiral I didn't realize I'd entered until it was 10 hours too late to escape.

Death spirals are never fun, but it did reveal the clever nature of Terra Invicta's overall scenario, where Earth's vast resources can allow you to meet your goals… if you're able to leverage them. The aliens may have massive technological advantages at first, but there are literally billions of humans, and they're sitting on the single largest concentration of usable resources in the solar system and already have an economy in place to use them.

Spacer Soldier Spy

Perhaps the coolest thing in Terra Invicta are the seven conspiratorial factions. In turn, they aspire to submit to, work alongside, prove themselves to, flee from, fight back against, exterminate, or profit from the aliens. Each faction is nicely represented by a key character, all of whom are fleshed out by quotes and voiced dialogue every time new research or major events pop off. It's nice that you get flavor from every faction leader over time, as it's possible that a weak faction won't be one you engage with directly.

Every one of the factions has wildly different plans. When playing as The Resistance you're trying to strengthen Earth to fight off the aliens, unite its people, and preserve the human way of life as much as possible. Humanity First, meanwhile, has a similar goal but with more genocidal flavor, and is willing to do anything to wipe the aliens out — like encouraging terrorist bombings on pro-alien nations or nuclear strikes against alien targets. It's easy for extremist factions to rack up atrocities, a very clever mechanic that hits perpetrators of war crimes with permanent penalties to their global reputation.

At the other extreme are The Servants, who think that aliens are divine beings and whose intentionally easier campaign has you align with the alien cause. Where other factions are fighting what Aliens do, Servants are desperate to contact and communicate with them in a twisting campaign story that takes Terra Invicta to unexpected places given its larger premise.

The ideological differences between factions can lead to interesting conflicts.

These ideological differences can lead to some interesting conflicts. In my campaign as The Resistance, I did things like form international coalitions to invade nations and overthrow governments friendly to the aliens. In one exceptional moment I had to unite a feuding US and Europe in an alliance to invade an alien-controlled nation seeking nuclear weapons. In another I had to convince Brazil's neighbors to let them move armies that could exterminate growing alien plant life.

I forged alliances of convenience with groups like Project Exodus, who – while they were squandering resources on trying to escape alien conquest – at least weren't actively working for the bad guys. It’s cool that you can never really “kill” an idea, either. You can weaken or even cripple one of the other factions by stealing their resources, or by assassination, but they will inevitably recruit a new inner circle and rebuild in time.

Your faction's council is how to put your plans into action, picking recruits from a broader pool of candidates with their own loyalties, backgrounds, and traits. I had one counselor who was a paranoid cynic, for example, and while that made her an excellent spy and counterspy it also made her hard to trust with valuable assets, as her true loyalty was difficult to gauge. She also refused to work in unstable and dangerous environments, which are fairly common in a world where the revelation of hostile alien life starts to plunge countries into chaos.

I got pretty attached to my council members. One of my favorites was an Argentine military colonel who led my, uh… deniable operations. (It’s hard for enemy factions to gain popular support when their agents get abducted or killed if they go public.) Her military experience was key, as Counselors' jobs affect the missions they can take on. Spies and soldiers have obvious uses in a shadowy global war, while diplomats and social or religious leaders are great at spreading your cause's ideology, giving you more of the influence resource. Meanwhile top scientists contribute to research efforts as economists and businessmen help find funding or acquire and manage organizations that act like equipment for your council.

You have limited slots on your council, though, and you can't be good at everything. Counselors can only undertake two missions each month, so you constantly have to make hard choices about priorities. Should I send my Resistance spy to investigate a suspected enemy agent or to weaken Servant control in Argentina?

I also love that you can recruit and maintain criminals to support your cause: Sure, the Los Zetas Cartel are bad people, but it's hard to complain when we've got them funneling $40 million a month toward fighting the alien menace.

Terra Invicta clearly wants to simulate every aspect of our world – at least at the macro level.

All this geopoliticking and fighting takes place on a detailed and fairly robust simulation of Earth. The overview screen tracks things like global opinion about each faction, Earth's overall GDP, and the economies of nations, but also details like the level of human-caused climate change. (Or… is it human-caused?) Terra Invicta starts in 2022, which is accurate down to details like Russian forces occupying Eastern Ukraine and Crimea, and it's very clear that it wants to simulate every aspect of our world – at least at the macro level.

The coolest example of this is how research works, with two kinds of projects going at any time. There are public projects every faction contributes to that show the bigger arc of what humanity is working towards as well as private projects that benefit your faction alone. You have to split your research output between them, as does everyone else.

The big public projects unlock things for everyone, and those are often double edged swords. They can be political movements that allow unification of countries into single nations, like a united EU… or break them up into smaller, weaker targets for alien conquest. They can also be the development of tech allowing things like cleaner nuclear fission to buffer against inevitable energy crises. If you contribute the most to a public project you get to choose what's next on the docket for humanity's future, and you get an edge in unlocking private projects that spin off of that tech. It's a serious benefit in the sprawling web of a tech tree – which I loved in spite of its lack of organization thanks to a decent search function.

All of those public techs let your faction unlock private research to get smaller-scale benefits at the same time. Those can be exclusive access to political movements, corporations, or benefits for your agents like defoliants for alien plants. On the space side they're often ultra-specific tech like new rocket engines, weapons, or asteroid-mining techniques. I liked how many choices of private research I had at any given time, adding a good tension to each decision. Some are less exciting variants of similar options, but it's fun when you're picking between new plasma rocket engines, an economic method to bolster military defense, or enhanced cybernetics for your counselors — and you want them all yesterday.

With all of that intricate detail it seems very strange when the simulation leaves out obvious cascading effects. For instance, the economies of individual countries are tracked by GDP, wealth disparity, and productive capacity, but at the same time countries are individual units to such a degree that apocalyptic economic events in one country don't appear to affect their neighbors at all. That level of simulation is something developer Pavonis Interactive will want to improve over the course of Early Access.

Likewise, countries themselves are brain dead without a global conspirator pulling the strings. It's very hard to get a foothold in countries with large populations and economies, so in at least one of my games I saw China sit stagnant for over a decade following the alien invasion. It's hard to imagine that one of the world's most powerful nations would sit and do nothing – not even develop its space program – as madcap events kick off everywhere around it.

The simulation of Earth is fun to see in action, but it's also overwhelming.

All that simulation works well for the most part is, and is fun to watch in action. I can see that for many people the biggest draw here will be the conspiracy-vs-conspiracy thriller world that you can engage in and develop. You could create a unified African continent, or break up the EU. Playing as the Servants I engineered a permanent peace and eventual reunification of India, Pakistan, and Bangladesh into a diverse and democratic world superpower. (I mean, I did it for bad reasons, but the sentiment is nice.)

But that simulation is also overwhelming. The struggle to track what's relevant and interesting to your cause is difficult and only worsened by the interface, which tries heroically to surface relevant information but really struggles to do it in a way that's useful. For example, there's no real warning nor indication that the AI is engaging in nuclear war aside from the occasional loud noise, whereupon you then frantically turn the globe looking for mushroom clouds that may fade before you spot them (that might be something you'd want to know more about before the nuclear winter sets in). Wild swings in public opinion that might cause you to lose vital control points in a key nation are relegated to small icons. There can be very little warning that a nation is approaching civil war and regime flip, losing you power. Enemies can get and keep control in nations you hold much easier than you'd think.

These frustrations bite new players the most, but are annoyances even for veterans. You can defend your control, but it's micromanagement intensive. Optimal strategies involve counterintuitive choices like taking, then abandoning countries, but only by watching the AI do that did I figure it out. I eventually resorted to manually checking the opinion charts and economies of every nation I had, every turn, to keep up.

The biggest detail Terra Invicta ignores, though, is storytelling about the aliens themselves. For much of the early campaign it feels like they may as well not exist. That’s fun during those early X-Files-esque conspiracy years but by the time I'm being told they're doing terror attacks on civilian populations I'd at least hope to have seen more than a single piece of grainy art depicting one.

Even when you later see, capture, or kill an alien agent it's quite vague. A mission description might casually reference some kind of alien you've neither seen nor heard of before, let alone gotten a text description of. For all that time it spends describing the cool things that its key characters and people are doing, and the revolutionary technologies they're inventing, sometimes Terra Invicta feels like it's forgotten that it's a game about an alien invasion.

…in SPAAAAACE!

At least until you go to space, that is. In space there's lots going on, much of it in the purple of the alien conquerors – but again, it's just a wholly different video game from the surface. Space is about strategically and precisely beating others to the resources you need to win, taking hold of them, and never letting go. That fight starts on Earth, as you need its resources to get your first stations and colonies going, but later your space efforts become self-sustaining.

As part of those efforts you’ll build fleets of ships, and can eventually use those to fight against alien ships, though doing so risks severe repercussions as Alien fleets move to destroy your space assets in retaliation.

Building space stations, resource colonies, and shipyards is unparalleled here. Balancing expansion against control, boosting from Earth versus space resource utilization, and local-system construction capacities is as engaging a toybox as you could want. With 350-some stellar objects, there is no simulation in another strategy game to rival Terra Invicta's both deep and broad model of space exploration.

That said, if you don't have a solid grounding in hard sci-fi or a great head for physics, the space combat is going to be frustrating and strange. It's as much about weapons and preparation before the fights as it is about actual choices made during them. You worry about the specific thrust of engines versus how much Delta-V a craft can muster, and how that affects the balance of its performance in battle versus out.

In real-time combat, precisely tweaking maneuver nodes to get specific results can be rough, and the interface here is both slippery and frustrating. I gave up on complex kinetic and energy weapons tactics based on maneuvers by my second fight. I realized that while you can build space warships early on it's a trap option, a built-in waste of your time. I resorted to overwhelming the enemy with missiles, and that worked pretty well.

Later I tried to build some big, giant, awesome space battleships. Spoilers: My macross fantasies were bad. It went apocalyptically wrong. Seconds into its first combat my Titan-class ship evaporated after a single hit from a tiny alien Destroyer. I never could figure out why, and Terra Invicta wasn’t interested in teaching me. My kingdom for a combat log.

The space gameplay is cool on paper but frustrating in practice.

The space gameplay is cool on paper but frustrating in practice, because by the time you actually start getting real excess resources to play with in space you're a dozen hours into this game. Don't get me wrong, it's good game design to have the complexity of a campaign open up over time, but not when it can be so crucial and swing so hard from victory to defeat so suddenly. Winning the fights you start in space is necessary for the success of most campaigns, but you have no idea how to do it and Terra Invicta won't teach you how. The only way to learn is to throw yourself at enemy fleets in skirmish mode – you can even export ship designs from an in-progress save – but that ultimately doesn't have bearing on the strategic situation of your personal campaign.

Perhaps more frustrating is how the Earth layer can intrude into the space one. Enemies will seize control of your stations much like they seize national resources on Earth, but the difference is that the stations took huge private resource investments on your part. Sending a counselor to take them back means months at the shortest, years at the longest, which is crippling to your efforts on Earth while that counselor is unavailable. Sending in your own space fleets to assault with marines works, but in my experience just led to silly situations where control of a 50-person outpost flip-flopped back and forth every few months.

Those kinds of political maneuvers make sense and provide drama on the Earth layer, where huge numbers of people and complex governments are at play, but in space they're just frustrating. Why are we letting strangers onto our secretive space weapons research facility, then letting them give stirring speeches to seize control, and why aren't all the marines we stationed there doing anything about it? You can technically do the same to the AI, but practically speaking it requires a lot of good luck and planning, as a very specific, rare counselor trait is required to do it.

Oh, and don't you dare blow up any non-alien space facilities, no matter how reviled their occupants are. That's an atrocity on par with a nuclear holocaust and, to quote Fallout 4: "Everyone disliked that."

Netflix Opens Its Own Game Studio in Finland

Netflix has announced that it will be creating an internal game development studio in Helsinki, Finland. The studio will be led by Marko Lastikka, Zynga's vice president, as its director.

“This is another step in our vision to build a world-class games studio that will bring a variety of delightful and deeply engaging original games — with no ads and no in-app purchases — to our hundreds of millions of members around the world,” Netflix says in a statement on its website.

Netflix explains that Helsinki has some of the best game development talent in the world, and this will be the first studio that it builds from the ground up. The company also has another studio, Next Games, established in Helsinki as well.

“It’s still early days, and we have much more work to do to deliver a great games experience on Netflix,” the company continues. “Creating a game can take years, so I’m proud to see how we’re steadily building the foundation of our games studios in our first year, and look forward to sharing what we produce in the coming years.”

Netflix will now have four game development studios in total, including Night School Studio and Boss Fight Entertainment. Night School Studio’s Oxenfree has a Netflix edition on the platform available to play for subscribers now. Oxenfree II: Lost Signals was also delayed to 2023 in order to add more localizations.

George Yang is a freelance writer for IGN. You can follow him on Twitter @yinyangfooey

Blazblue Creator Toshimichi Mori Leaves Arc System Works

BlazBlue series creator Toshimichi Mori has departed from Arc System Works after almost 20 years. He started working for the company in 2003.

“I have something to report to all of the users. I, Toshimichi Mori, have left Arc System works, the company I worked at for many years,” Mori says on Twitter (translated by Gematsu). “I first joined Arc System works after working on Guilty Gear X as an employee of PicPac, and I cherish many of the experiences I have had during my 20 years there, whether it was working for various fighting game titles, developing my own title BlazBlue, or connecting with many of our users.”

He continues, “I have nothing but gratitude towards the staff of Arc System Works and others who have worked with me, as well as all the users who supported us. Thank you from the bottom of my heart. I will depart from Arc System Works. This may cause some feelings of anxiety, especially among fans of the BlazBlue series. For this, I sincerely apologize.”

However, Mori also explains that he isn’t done with video games just yet. At the moment, he’s thinking of creating a game for BlazBlue fans in some sort of fashion, and he’s going to focus on that endeavor going forward.

Many veteran developers in the Japanese video game industry have moved on from places where they first established their names or have retired recently. Earlier this year, Yakuza series creator Toshihiro Nagoshi left SEGA to establish his own studio with NetEase. Kingdom Hearts and Final Fantasy producer Shinji Hashimoto left Square Enix back in May.

In other Arc System Works news, Guilty Gear Xrd REV2 is getting rollback netcode on PC.

George Yang is a freelance writer for IGN. You can follow him on Twitter @yinyangfooey

How Fortnite is the Antidote to Metaverse Skepticism

Nobody knows what the metaverse is. The term, which has become one of the most popular fundraising idioms deployed in boardrooms across the country, is notoriously enigmatic. Can the metaverse be defined as a social space where gamers hang out? A multiverse partitioned into distinct plots of land, governed by ruthless capital laws? Yet another extension of the questionable NFT gambit? Ask a million game developers, and you'll likely get a million different answers. You could make the argument that we've already been living in the metaverse for decades – after all, I spent much of my youth ambling outside of the Ironforge auction house in World of Warcraft. You could also make the argument that the metaverse is a far-off dream that can only be actualized by wistfully futuristic technology; all of us transporting to a digital utopia using the holodeck from Star Trek. Perhaps it is better, and more honest, to think of the metaverse as something studios are creating on the fly, rather than a concrete ideal we're aspiring towards. In that sense, Fortnite should be considered the torchbearer for this strange new frontier.

I am a career Fortnite skeptic. When the game's Battle Royale mode burst onto the scene on September 26 2017, just two months after the core Save the World mode launched, I was happy to write off Epic's latest gamble as a strained, desperate attempt to cash in on the rollicking PlayerUnknown's Battlegrounds boom. Months later, when Fortnite had firmly left all of its competitors in the dust, I still considered the game to be a quirky, ephemeral fad; a flavor in the month, surely to be steamrolled by the influx of world-conquering Infinity Ward and Respawn interpretations of the genre sure to come. That did come to pass – Warzone and Apex Legends are both massive hits – and Epic countered those incursions by… adding a payload of inter-fiction skins to their video game. Surely, that wasn't going to work. Fortnite was a glorified mod that got lucky; it parachuted in at the absolute prime of the white-hot Battle Royale revolution, and the ability to take control of, say, Thanos would surely not prevent it from plummeting back into obscurity. When Tim Sweeney started talking about Fortnite as less of a game and more of a decentralized social experience, I thought Epic had officially lost the plot. How on earth is anyone going to hang out in a video game where the primary way to interact with your fellow players is down the barrel of a gun?

Years later, I am prepared to admit defeat on my anti-Fortnite biases. Epic has doubled and tripled down on the belief that their product can transcend all of the established limitations of a video game – crossing over into a self-styled metaverse – and I think it is officially undeniable that they've pulled it off. Alex Perry, at Mashable, has a good summary of the copious ways Fortnite has reached escape velocity with all of its eccentric gameplay experimentation. A round of battle royale still has winners or losers, yes, but in Fortnite you can also "explore the expansive map, and do quests to unlock more goofy skins and accessories," he writes. "You can go 'fishing.' You can hop into a car with a working radio station and just joyride around the landscape, or do the same with a boat in any of the map’s huge lakes."

All of this, of course, is filtered through a frankly astonishing catalog of bespoke, pop-culture costumes that allow for some genuinely Ready Player One-esque wish fulfillment. Thanos, introduced in 2018, was just the tip of the iceberg. Now, anyone in the Fortnite expanse can transform into John Cena, Spider-Gwen, or the Demogorgon, to name just a few. The skins that officially won me over? The introduction of the Dragon Ball Z cast. I watched Goku blast a Kamehameha across the map – securing Victory Royale – and realized that this was the exact sort of video game fantasy I dreamed about as a 12 year-old. Fortnite keeps getting bigger and weirder, and that's all I really want out of whatever the metaverse is supposed to be.

I can say, with confidence, that the metaverse should be a vector for huge gusts of laughter. It should feel like anything is possible.

There's a pervasive negative aura whenever game studios start talking up the metaverse. We've already witnessed out-and-out revolts by Ubisoft fans and Square Enix fans when the bosses of those two companies started making overtures to a crypto-heavy, transreality future. It's pretty easy to diagnose where that negativity comes from; the bulk of most metaverse pitches hinge on massive NFT integrations – despite the fact that nobody has proven with any certainty that gamers are interested in say, auctioning off a weapon skin that's encoded on the blockchain. Some of the biggest proponents of the model, like Facebook, have proven to be untrustworthy actors in our private and public lives, and now we are expected to forget about their reputation and go live in their worlds? Buying and selling digital material under their watchful eye? You aren't wrong for being suspicious. I am too.

"There is a fear that the [crypto] influence will deplete good design tenets, creating an environment where video game experiences are increasingly tiered by financial thresholds, creating a negative experience for consumers," I wrote, in a story about the metaverse for Vox earlier this year. "So far, publishers haven’t been able to assuage those anxieties."

I think that's what makes Fortnite such an outlier, and why gamers seem to be so much more optimistic about its metaversal potential. Yes, obviously, Epic is a for-profit company, and the skins sold on Fortnite all come at a price. But those assets aren't mucked up in any sinister, blockchain membership program, and therefore, we do not feel like we're being sold a bag of goods. You do not purchase the Goku skin because you believe it will be a good investment someday when you flip them to a prospective buyer for a windfall of sweet, sweet Ethereum. No, you purchase the Goku skin to simply be Goku. That is the same priority across the nascent Fortnite metaverse; all of the decisions Epic makes with the game seems to tie back to a loose, vibrant, gamer-y joy. This is not a metaverse masquerading as a Ponzi scheme or a work-for-hire program; you come to Fortnite to have fun, and with the multitudinous ways Epic continues to expand upon what is possible in a multiplayer match – from Ariana Grande concerts to the Infinity Gauntlet – all of a sudden, the metaverse seems like something worth getting excited about.

So do I have any better understanding of what the metaverse is supposed to be now that Fortnite has won me over? No, not really. At its core, Fortnite remains a battle royale game, and no off-beat mini-games or crossover events are going to change that anytime soon. But perhaps the vagueness can work to Epic's benefit; maybe they'll be the company that establishes the expectations players have for any publisher welcoming players to their own metaverses. I cannot adjudicate the finer scientific points of the concept, but I can say, with confidence, that the metaverse should be a vector for huge gusts of laughter. It should feel like anything is possible. It should allow us to snipe our friend dressed as Dr. Strange out of the air, while we ourselves are dressed as John Cena. If we're all enjoying ourselves this much, maybe Epic is right. We'll all someday be enmeshed in the metaverse, without ever realizing it.

Luke Winkie is a freelance writer for IGN.

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