If you've played Hidetaka Miyazaki's latest game, it won't be too surprising that so many people keep talking about it. If you haven't, maybe it's worth a closer look. I was hesitant to pick up Bloodborne because of everything I heard, and learned first hand, about Demon's Souls and Dark Souls. They're difficult, demand a huge effort up front from the player due to the unique nature of its gameplay and complete lack of hand holding in any way. The hype surrounding the game and desire to see the latest in graphics on my new console were too much to resist. Besides, Metacritic average and critic scores seemed ridiculously high, either everyone reviewing it was a fan of Souls, which is highly unlikely due to the niche appeal, or the game truly broke new ground and was able to please a wide audience.
If you haven't played it, what might help to explain Bloodborne's new found success would be comparing it to my experience with Capcom's Resident Evil 4. When I first popped the disc in my GameCube, it was to watch someone else play through. I knew I wasn't good at these games, but I still wanted to enjoy the experience so I just intended on watching my friend go through it. It's the same reason a lot of people will just YouTube a game nowadays. To my surprise, he was dying over and over in the first area for an hour straight. He was ready to give up, but I wanted to take a stab at it. Even though he finished the previous four games, and I was all thumbs when it came to RE, there was something here that made me think I could do better.
"Why are you going so slow and methodically? These guys are just mobbing you!" I just rushed straight into the thick of trouble and started capping zombies left and right, drawing them out towards me and picking them off. My friend sat there bewildered as I was easily making progress using a method that contradicted his entire approach. Despite his assurances it would result in virtual suicide, I had found a successful strategy. Past games had enforced certain concepts so rigorously that it didn't even occur to him to play a different way. Once he got over these preconceptions, he was easily able to fall into the game's fantastic new groove, and as for me, I was hooked on a Resident Evil game for the first time.
Bloodborne is similarly a game changer for the Souls series. It doesn't make the game more accessible in a broad sense, but it does open it up to a different audience via the presentation. Firstly, the Victorian setting and heavy influence drawn from the works of H. P. Lovecraft brings an aesthetic not too often used in recent games, attracting those who may snub a medieval fantasy setting typical of most RPGs. More importantly however, is the focus shift towards speed that encourages taking the initiative and lunging at an opening, instead of fending off advances and slowly waiting for the right moment to strike as in past Souls games. This truly makes it feel like a different game.
This change of pace spins on its head the formula most players used to claim victory in previous Souls entries. No wonder "Souls" is nowhere to be found in the title. It may share a lot of similarities, but here Miyazaki has completely disrupted expectations. There are certain newcomers who will snap in easily in a way that they just couldn't with previous entries, and while veterans can certainly adjust, they may have to shift strategies and learn some new tricks. Bloodborne has something special to offer to old and newcomers alike.
As you learn how to deal with situations that get iteratively more complex, you get procedurally more proficient with your move set and weapon so by the end of the game you feel like you've really mastered something. The key is in how the game design facilitates the development of your skills, introducing new concepts gradually and then pulling the rug out from under you so you have to use the same moves in a different way. This is somewhat similar to the formula used by Shigeru Miyamoto in Super Mario Bros' level design philosophy.
Bloodborne keeps you on edge in a way that other games don't, you'll find yourself worrying about what's around the next corner and advancing cautiously. Jump scares and dark brooding areas actually work here because you already feel afraid. This engagement with your character and the surroundings is certainly a result of fearing consequences for sloppy play. It's amazing how much more immersed you get when your next milestone is practically in the palm of your hand, but at the same time you dread any surprise that may snatch away victory. I've escaped ceilings that caved in on me, flaming boulders that came tumbling down a circular staircase, and dodged giant guillotines after accidentally setting off a trap. Paying attention and reacting swiftly are greatly rewarded, and there's nothing like the sensation of success and even pride from overcoming.
I normally play games on easy, hate frustration, and don't want to hit any unbalanced difficulty spikes down the road. With Bloodborne, you're stuck with the game's only difficulty level. This may seem like a setback to some, but really it's allowed the developers to hone the experience, making sure the entire thing is fair and balanced. Let's also get this out of the way, Bloodborne is not punishingly difficult. True, if you're just going to give up after trying the same exact thing five times in a row, you probably won't have a good time. If you're willing to focus completely, observe closely, and experiment if you meet with failure, then you'll easily meet success.
The experience is completely rewarding, and it's refreshing to expect that the player approach things thoughtfully. All of the tutorials, repetition of blatant cues, overt telegraphing, hand holding and exposition that allow even the most detached gamer to succeed are not going to be found here. If you missed something, well too bad for you. Things might be a lot more difficult than necessary.
After 70 hours of game time, I've only had about two frustrating moments*, which involved optional bosses. I felt the resolve to continue, because I was having so much fun otherwise that it wasn't worth it to let these moments stall me out. I've now gotten the platinum trophy, my third ever. Typically, achievements and trophies are usually the furthest thing from my mind while playing a game, but Bloodborne becomes an obsession. Having it out of my system is bittersweet, I can freely move on to other things, but on the other hand I completely savored the moments I was able to dedicate to the game, becoming completely intoxicated by the experience.
Being so hooked, after completing Bloodborne I found new reason to go back to Demon's Souls and Dark Souls. I gave these games a few good hours each. Due to all of my training, I was able to open up shortcuts. I could take on enemies easily, dodging at the right time, and striking when I saw a weakness. Using the shield as I had my gun in Bloodborne, I was able to defend myself properly. Everything seemed to come naturally, instead of feeling like I hit a brick wall when I originally tried my hand at the Souls series. I still don't think I'll continue with these games, the graphics have aged poorly, and the generic fantasy styling isn't engaging me the same way the horror themes did. Still, I'm confident I could do well should I continue.
I'm completely excited for what's next in the series, and hope that Bloodborne gets its own sequel, or that there's a new Souls spinoff with a different setting. I hope that as many people as possible are exposed, because there is something truly unique and special here that is now more accessible than ever. Are you interested at all in Bloodborne? Were you hesitant for the same reasons? What type of setting would you like to see in a Souls game? I'd like to hear your thoughts, please let us know in the comments!
* (Minor Spoilers) I've since learned that I would have had a much easier time if I would have finished the game and started again under New Game+, retaining my progress in the chalice dungeons, and gaining many more Blood Echoes from enemies the second time through. This would have allowed me to level up faster and overcome some of the challenges in a brute force way. Still, I was able to take these tougher enemies on at a lower level and succeed without too much trouble once I found the proper approach.
A violent earthquake shook Nepal a week ago, one of the most powerful the region has ever seen, and the death tolls continue to climb. As one of Asia's poorest countries, they have little ability to fund their own recovery. Various game developers are pitching in, and you can do your part as well. Read on to find out how.
Bungie is selling limited t-shirts that come with an in-game shader and emblem for Destiny. Click the shirt to order yours.
The Might & Magic Humble Bundle's American Red Cross proceeds will go towards earthquake relief programs for Nepal.
Even without that much money to spare, Sega's chipping in with proceeds from DLC for four different games plus two million yen going towards helping Nepal recover.
Far Cry 4 was "heavily inspried by Nepal and its people," and Ubisoft's Far Cry development team will be donating up to $100,000 towards the relief effort.
Codename Entertainment will be donating proceeds from virtual items purchased in three of their games, which will be matched by the Canadian federal government.
Now you know how to subsidize these efforts while still putting money into your favorite hobby. Are there any more game related efforts that you've seen, or any in general that you think are worth sharing? Please post them in a comment.
Ubisoft could be bringing us Watchdogs 2, according to a resume on a LinkedIn profile from senior gameplay programmer Junien Risse.
Since the media has gotten ahold of this tidbit, it has vanished from the profile, and Ubisoft has neither confirmed nor denied its existence, choosing simply to ignore commenting on the issue altogether.
That's about it so far. What are you expecting from the supposed sequel? Are there any improvements you would like to see? Were you let down by the original in any way?
Five ex-Rare guys plus are banding together to bring you the spiritual successor to Banjo-Kazooie, a 3D platformer that aims to take the reigns of the classic collectathon and bring it to the current generation.
The Kickstarter is launching tomorrow, but Playtonic Games already has gameplay footage and a very solid concept for the game in place. Yooka-Laylee will be released on all three major current generation consoles, as well as the Windows and Macintosh operating systems.
IGN has exclusive in-game footage of Yooka-Laylee, and the mechanics do indeed look very close to those in Banjo-Kazooie.
It's a bit of a sparse one again this week. But it doesn't matter because Paper Mario! Yes, that's right. Paper Mario, the original turn-based Mario RPG with a papery twist is now available on the Wii U Nintendo 64 Virtual Console! Oh, happy day!
In case you were wondering, the other releases this week consist of a new shmup for the 3DS and yet ANOTHER horse owning sim. Seriously. There are a ton of them now. Just do a search for "horse" on the Nintendo games pages and you'll see what I'm talking about.
Anywho, go make some paper horses, wait for your turn, and then jump past the break to see the complete list of new releases.
Wii U
Paper Mario (Nintendo 64 Virtual Console) (Nintendo, 1 player, $9.99)
After shedding itself of the Vaio computer line, and eyeing an exit from the phone and television market, Sony must focus on their bread and butter to increase profits. Perhaps this is why at an annual shareholder meeting, they announced intentions to grow their investment in the PlayStation line of products and services.
Sony will turn their efforts on growing the installed base of the PS4 console, in order to make up for an expected decrease in PS3 sales. Expecting to expand the amount of users on PlayStation Plus, they will attempt to increase the amount of original content on the platform and draw gamers to the benefits of the add-on service. Entertainment media exclusive to their streaming video service PS Vue will become a higher priority.
On the hardware side, the virtual reality headset Project Morpheus will receive additional funding for research and development, further developing the product and providing support to developers. Sony also expects to increase original software available for the platform, helping them cement their position as a leader in the current generation of consoles.
Chief Financial Officer Kenichiro Yoshida forecasts a double digit expansion to the previous year's 89 billion yen investment in R&D for the fiscal year of 2015, adding that "there are some projects to be announced from now on."
The Elder Scrolls IV: Oblivion (Xbox 360) (Bethesda Game Studios, 2006)
Game Changers is a semi-regular column featuring games which have had a significant impact on me over the years. Games that were so incredibly stunning and awe-inspiring, they changed my conception of what a game could be at the time. For the first Game Changers article, I wrote about the '80s arcade classic Out Run. It was one of the earliest games to have such a significant impact on me. This time I decided to write about something a little more recent.
Oblivion was not my first experience with the Elder Scrolls series. After hearing nothing but good things about The Elder Scrolls III: Morrowind, I went out and picked up the Game of the Year Edition for the original Xbox. I made several attempts at getting into the game, but I ultimately ended up not spending more than a few hours with it.
I enjoyed the music and lore, and a few of the design aspects, but I found the overall experience to be a bit off-putting. The graphics weren't quite as good as I was expecting for a PC port, the mechanics left something to be desired, and I found the menus and quest system to be pretty confusing. It didn't take long for frustration to set in and after that, I felt very little motivation to play it. In short, I was pretty disappointed with my purchase.
I was almost ready to write the whole series off when I started hearing information about the next game that was to come out soon on the Xbox 360. I happened to watch some development videos for Oblivion on an Official Xbox Magazine demo disc. The improvements they had made since Morrowind, as well as some of the new features they were attempting to add to the game, looked pretty incredible.
Then the game released and I saw all the high review scores it was receiving. I was almost ready to take the plunge, but I couldn't forget how burned I had felt by Morrowind. I wasn't keen on the thought of throwing away more money so I decided to give it a rental first, just to be sure.
It Begins
From pretty much the moment I popped the game disc into the tray, I was hooked. The graphics, the grand orchestral score, the intro narrative by Patrick Stewart, all of it was simply amazing. I even thought the title looked cool. The way the roman numeral IV is perfectly contained within the word "OBLIVION". I immediately thought that I was probably in for something special. I had no idea how right I was.
As in other Elder Scrolls games, you start off as a nameless prisoner. During the introductory section of the game, you are prompted to select your character's race, sex, features, skills, and attributes. Then you are on your way. The game opens in the dungeons of the capital city of Cyrodiil. The emperor, voiced by Stewart, is attempting to flee from assassins. As fate would have it, his secret escape route into the catacombs goes right through your prison cell. He stops to comment on your fateful role in the unfolding events and grants you a pardon before heading on his way.
After completing a brief tutorial section, you happen upon him again in the catacombs. The assassins make several repeated attempts on his life, but are repelled by his guards. Knowing that his luck will likely soon run out, he entrusts you with the Amulet of Kings, a powerful artifact that could decide the fate of the land. He asks you to get it into the hands of his sole remaining heir, whose existence and location are a closely guarded secret. Shortly thereafter, one of the assassins finally succeeds in killing him. You dispatch his murderer, head through the sewers, and then finally make your way out into the world. And so your journey begins.
Looking Good
Playing through the first bit of the game and then finally stepping out into the world, I was struck by just how different this game is from Morrowind. There were so many improvements implemented from that game to Oblivion that you would barely recognize them as belonging to the same series. Plot, graphics, sound, mechanics, menus, the list goes on.
Many of those improvements can be attributed to the much better hardware that Oblivion runs on, though not all. For instance, the opening of Oblivion is much more exciting and dramatic. In Morrowind, you step off of a ship and into a building, where you are asked to fill out paperwork. Yes, you get to play as a fantasy character who has to fill out paperwork. So much fun, right? In Oblivion, immediately out of the gate, you are thrust into the middle of an imperial assassination plot and entrusted with the security of the entire realm.
The graphics in Oblivion are probably the single biggest advancement since Morrowind. The level of detail, the scenery, the draw distance, the color palette, everything looks amazing. The graphics in Morrowind were okay for the time. I would describe them as occasionally nice but for the most part merely serviceable (on Xbox, anyway). The scenery was actually somewhat bland and featureless. Most of the time everything looked flat, sparse, muddy and foggy. Also, the draw distance left something to be desired.
When I exited the sewers and entered the world of Oblivion for the first time, I was blown away by what I saw. The colors, the detail, the realism of it all, it was staggering. I happened to look upward and saw the most beautiful dusk sky I had ever seen in a video game. There were oranges and blues, clouds, and tiny little stars popping out one by one. I turned all the way around and saw miles of lush tree covered hills, water, individual blades of grass, some stone structures, all surrounding me in absolutely incredible detail.
The draw distance in Oblivion was pure insanity! Up to that point, I was used to not being able to see the equivalent of about 75 - 100 yards in most games. Morrowind was no exception. Shortly after leaving the sewers and entering the world of Oblivion, I started to make my way up a nearby mountain. After dispatching a few wolves and bandits, and meeting a traveler or two, I came upon an overlook.
I strolled over to take a look down at the valley below and was awe-struck by what I saw. The view seemed to go on forever. I could see for miles, almost clear across the whole kingdom. It was just like real life! For a split second, I think I even forgot I was playing a game. It felt like I was really standing there on that mountain, looking down at the world spread out before me.
No Comparison
The menus and quest journal are way better in Oblivion. In Morrowind, I found everything to be either too overcomplicated or somewhat lacking in sufficient information. One of my only experiences with the quest system in that game was also a bit confounding. After my "playtime" filling out the requisite paperwork, I ventured outside and on down the road, hoping for some slightly more exciting gameplay. All I found instead was frustration.
After a short walk, I came across a man who appeared to be down on his luck. I stopped to talk to him and he told me about a nearby witch who had stolen all of his possessions. He asked me to eliminate her and help him get his stuff back. "Sweet!", I thought. "I'll get to take down a witch and complete my first quest!"
I must have accidentally skipped the part when he told me where to find her because I couldn't for the life of me figure it out. I tried speaking with him again and he wouldn't give me any more information. I checked all the menus and the quest journal for any kind of clue but there was nothing to be found. I then proceeded to spend the next 40 minutes scouring the surrounding area trying to find this supposed nearby witch but I ultimately couldn't find any trace of her. To make matters worse, the guy kept dying every time a stupid animal or monster attacked us.
I really wanted to see the quest through but I started to get pretty fed up with the situation. It wasn't much fun constantly having to reload my saves to keep the guy alive and searching all over that god-forsaken ugly landscape without any luck finding what I was looking for. Finally I had had enough and I just let him die. I tried to move on with the game but after the extremely boring introduction and my horrible first quest experience I quickly lost interest and stopped playing altogether.
In Oblivion, every quest has a page explicitly detailing what needs to be done in order to complete it. Furthermore, there is a very handy marker that appears on the map showing you exactly where to go. Any time I got even remotely lost or confused I just pulled up the quest journal, reread the entry for that particular task, and checked the corresponding map marker to see where I needed to go next. Whereas in Morrowind I was just totally lost and confused, in Oblivion I was an unstoppable quest completing machine. No frustrations what-so-ever.
Sunrise of Flutes
The sound design in Oblivion was absolutely brilliant. I don't have any real complaints about the sound in Morrowind but, as with the graphics, Oblivion just took it to another level entirely. Every character is voiced in the game. Every. Single. Character. That totally blew me away. It may not seem like such a big deal several years later but at the time, that was virtually unheard of for a game this size. The majority of dialogue in Morrowind was just text.
The decision to have every character speak in Oblivion really went a long way with regard to realism and immersion. The only real drawback is that Bethesda didn't hire enough voice actors to give sufficient variety to an entire world of characters. Not that they needed to bring in an army of people, but thousands of characters can't be realistically portrayed by just six or seven voice actors (unless it's The Simpsons). After playing for just a few hours, you start to realize that every new character you meet sounds exactly like dozens of others you've already come across. Despite that slight limitation, having all those voices in the game is still much better than not having them.
The music was hands down the best part of both Morrowind and Oblivion. I think it is fair to say that Jeremy Soule is one of the most talented video game composers of our time. His work on Morrowind was exceptional. And with Oblivion, he was at the very top of his game (pardon the pun). The score is variously beautiful, haunting, and foreboding. It is a joy to listen to and it fits the gameplay perfectly. I enjoyed it so much that I eventually purchased the official soundtrack off of his record website, DirectSong. That was about three or four years ago now but I still like to play it every few months or so. The opening track, Reign of the Septims can be listened to at the official Elder Scrolls website (here).
Dragonborn
After popping it in for the first time and playing through the opening, it didn't take long to realize what a brilliant game Oblivion was. I couldn't believe how significantly better it was than Morrowind. I was so excited about playing it, I went out and bought my own copy before the rental was even due back. Since that time, I've spent hundreds of hours adventuring all over (and under) Cyrodiil.
I still can't fully wrap my head around the incredible wealth of content Oblivion provides. Even the base game was huge, but then they decided to go and add some pretty substantial downloadable content on top of that. There are those who may remember the Horse Armor fiasco and still get a sour taste in their mouths. Personally, I just think about Knights of the Nine, the Shivering Isles, Thieves Den (and others) and smile. Despite the one piece of content they got wrong, they had a lot of others that they sure got right. Oblivion never got old for me as a result. I still play it today from time to time. The only one reason I no longer enjoy it as often as I used to is because it has since been (mostly) replaced by its even more improved sequel, The Elder Scrolls V: Skyrim.
Skyrim has its own advantages over Oblivion and is a better all-around game as a result (though I still prefer Oblivion's soundtrack). Despite being clearly superior, none of the improvements made from Oblivion to Skyrim were even remotely as substantial or numerous as those made from Morrowind to Oblivion. That is why no other game in the Elder Scrolls series, or the adventure/RPG genre in general, had as big an impact on me as The Elder Scrolls IV: Oblivion. In so many ways, it truly was a game changer.
Time for a new Twinstiq Podcast! We actually recorded this episode on the day we posted the 3rd one. I thought I give you some time between the 2 episodes (although you can always subscribe to our YouTube channel for the most recent video content, some of it you won’t even find on this site, because that’s just how we roll, baby!) Just like the Steam Paid Mods interviews we did, this is however now a bit out of date. But hey, since the topic surely will crop up in time, it’s still worth watching. Besides that, we also talk about a couple of other topics, like what franchise we would like to see again, what games we would like to make and what we think about Gamestop getting into the retro business.
What are you waiting for? CLICK THE DAMN PLAY BUTTON ALREADY!
Raising $8.6 million dollars, OUYA is one of the top ten crowd funded projects, but they still depended on borrowing $25 million from investors to stay afloat. Now, unable to settle their debts, OUYA is seeking a buyout. But who will purchase an Android console company when there seems to be too many competitors, none of which are doing too well?
Probably the highest profile Android system is the Nvidia Shield, and its TV counterpart the Shield Android TV. There's the Amazon Fire TV, Mad Catz M.O.J.O, GameStick, GamePop. A lot of TV models that have Android built in as a way to run apps, such as the LG Google TV, Bravia TVs, and more models from Philips and Sharp as well.
CEO Julie Uhrman thinks they have a lot to offer: "We believe we’ve built something real and valuable. I continue to read the tweets and emails of our fans who play OUYA every day, and our catalog is now over 1,000 apps and 40,000 developers. We have the largest library of Android content for the TV (still more than Amazon) — hells ya!"
Will someone step up and buy OUYA, or is it more attractive to pursue an in-house Android solution for their own product? We'll report when the offers come in. Do you find the idea of an Android console compelling at all? Let us know!
Virtual Reality has been around as a concept since the 1860s, when 360 degree panoramic murals such as Baldassare Peruzzi's Sala delle Prospettive started to appear. A more recent example of this is QuickTime VR, which became a simple method of viewing panoramic images on the web in the 1990s, although it never really caught on. Despite being so long in the thoughts of great minds, Valve's storyline writer on the Half Life and Portal series Chet Faliszek says VR is still in its nascent stage.
In 1962, multimedia specialist Morton Heilig built a prototype of his Sensorama, which displayed wide angle stereoscopic images, had a body tilting mechanism, stereo sound, released aromas on cue, and simulated wind. 1966 saw the introduction of a flight simulator. In the latter 1960s, an augmented reality headset was produced, although it was so heavy it had to be suspended from the ceiling. In the 1980s VPL Research introduced early goggle and glove based systems that featured a lightweight head mounted display.
Virtual Reality for entertainment purposes, specifically video games, only started appearing for consumer use in the 1990s. Sega VR was a failed attempt at bringing this technology into the home, it only made a few appearances in SegaWorld arcades.
Atari worked on a headset called the Jaguar VR. I actually tried one of these, it was running DOOM, had no real stereoscopic support, and the head tracking was awful. The prototypes were scrapped, only two units escaped destruction.
When the Wii was released, homebrew designer Johnny Lee created a software demo that tracked a head-mounted IR device, allowing players to simulate a virtual window using their television. A convincing illusion made it appear that you could see through your television into another world. Despite all of these efforts to bring VR to gamers, the holy grail of a fully immersive headset has remained out of reach due to issues we have yet to solve.
Image courtesy of Geekzone.co.nz
Valve game programmer Michael Abrash blogged extensively about the problems encountered trying to resolve judder. This is "a mix of smearing and strobing that can significantly reduce visual quality. The straightforward way to reduce judder is to make displays more like reality, and the obvious way to do that is to increase frame rate," Abrash writes. Another solution involves high intensity displays that will create persistent images that your brain stitches together with the next frame.
Image courtesy of Engadget
These are only some of the technical problems, some of which were already encountered with convincing 3D games displayed in 2D, such as Mirror's Edge. Developers introduced a dot in the middle of the screen, giving the player something to focus on. This greatly reduced nausea and vertigo experienced by some players. If we're already experiencing problems trying to immerse players in a game world, you can bet that the addition of a complete vision-surrounding display in stereoscopic 3D will add a lot more hurdles. Michael Abrash notes that "[not] everything about VR has been figured out, not by a long shot; there’s certainly plenty left to work out with tracking, for example, not to mention input, optics, and software."
Yesterday, through an interview with International Business Times, Chet Faliszek had this to say on the state of virtual reality games at Valve "We're at Pong level." More specifically, he states that "Just because a game genre has been around for 35 years doesn't mean it'll work with VR. How do you move around in VR? Locomotion is a real problem. Or you might find out that that genre shouldn't exist anymore. It doesn't work."
In 2016, Sony will be releasing Project Morpheus, their own VR headset for the PlayStation 4. The console will have to drive visuals at a high frame rate (120 frames per second in development kits) while rendering a full 1920x1080p image, with 960x1080 for each eye. It may be difficult to deliver the full experience we are seeing on 2D displays right now, with many games dropping in frame rates and some being locked at 30fps to deliver consistently. Developers may try to focus on more abstract representations of a world, as opposed to highly realistic scenes that many AAA games have been striving for.
Developer units have been shipped as early as June 2014, but what will games designers come up with? Will they be able to resolve the many nuanced issues that people at Oculus have been trying to perfect for so long, and also have enough time to test a fully realized experience in time for launch? Sony's Shuhei Yoshida is working hard to ensure developers have the resources to take advantage of the hardware, and I wish them the best in trying to realize for the consumer what many engineers and designers have been building towards for over a century.
Are you hyped for VR? What hardware are you putting your faith in? Do you think the games will be able to meet expectations? Please let us know your thoughts!