I grabbed the new Transformers game earlier today and gave the first Decepticon campaign level a spin this evening. This is a game that’s specifically meant to target my nostalgia and then attack it for ridiculous effect.
The best thing about it is that this is (so far) a pretty competent game. It’s full of giant robots blasting the crap out of each other, a story about Megatron’s megalomania, takes place on a planet where just about everything transforms, and has some solid fundamentals. It plays basically like a hybrid of Gears of War and Modern Warfare 2 in that it’s a third-person shooter (with no cover mechanic) and is heavy on the action.
Of course, you do have the ability to transform at will between vehicle and giant robot mode, which is half the fun—run into a room, shoot a few fools, then jump into the air and transform in mid-air into a car to zip away and recharge before attacking again.
Then again, all they needed was this trailer, because Peter Cullen as the voice of Optimus Prime could basically have said any kind of dialogue they wanted and all I would hear was “buy this game.” When I hear Optimus, I’m five again.
I haven’t dropped into the multiplayer yet other than during the demo, but it of course has a progression system like most shooters do now (though it tracks each class you can play as separately). And what’s with everything Activision having a Prestige-style system now? Blur had it, too.
The most pervasive trend was the whole franchise reboot thing. It’s something that came up at the very beginning of this year, but now we know for sure that the games industry is excited about giving its back catalog a Star Trek style reskin. Medal of Honor, Mortal Kombat, Twisted Metal, Lara Croft, Driver, XCOM, Kirby, Kid Icarus, Donkey Kong Country, even Need for Speed Hot Pursuit (in some regards) all plunder the past and reimagine things in a contemporary way, and seem to do so effectively. This is a topic for a future editorial, but it’s possible to look at this in two different ways. On one hand it’s exciting to see brands that we love given a chance to shine in front of a new, younger audience, but on the other you do have to wonder why the whole industry has become so creatively barren that it now has to feed on itself so ravenously.
Great points on the highs (and lows) of the aggregate messaging of this year’s E3. I’m looking forward to a follow-up article on this “reboot” thing that I agree was starkly front-and-center from almost every major player.
Rock Band Pro mode is all about potential. It’s about the individual player’s potential to move on up to the next, optional level of difficulty in the game, and, eventually, the player’s potential to make real music with a real instrument. And as Harmonix reps told us, it seems “designed to show the potential of what the music category can do in gaming” — if anything can answer that question of whether music games can translate to the real world, this mode will do it.
My anticipation for the new challenges inherent in Pro Mode is at a ridiculously high level. It’s like taking Expert in Rock Band 2 and then pushing it over a cliff.
With Kinect, Microsoft is trying to get the whole family playing games. Now it hopes to get the whole family paying for Xbox Live as well, through a discounted “Family” offer. The Xbox Live Gold Family plan, available this November, offers a year of Xbox Live Gold membership to four different family members for a total cost of $99.99, half the normal cost of four individual memberships.