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Never Alone is a cooperative platformer for Xbox One that stars a young girl named Nuna and her mystical Fox companion. Lately, I haven't had much time for interests outside of work — we've been working long hours here at the studio to put the final finishing touches on Never Alone as we get ready to launch worldwide. When I'm not playing or making games, I really enjoy singing terrible 90s songs at karaoke bars, nitpicking scripted television shows so much that I ruin them for everyone else, and taking impromptu road trips with my wife around the Pacific Northwest. My answer changes every day, but you'll usually find System Shock 2, Final Fantasy VI, Star Control II, Super Metroid, and The Legend of Zelda: Ocarina of Time in some order at the top of the list. I've also recently had the chance to finally check out some of our peers in the puzzle platformer space while at my desk, usually while waiting for builds to finish. I've been playing games as long as I can remember, well before one of my first memories of my father standing me up on a milk crate so I could reach the Galaga controls at a 7-Eleven. I got my first computer for free in 1982, thanks to my mother receiving it as a gift for attending an all-day real estate event — she had no interest in buying into a timeshare, but a lot of interest in helping her son start programming.
The platformer is one of the most well-known genres in the history of games, so I've been influenced by decades of them.
We worked closely with Ishmael Angaluuk Hope to immerse ourselves in the rich stories of the Inupiaq people and look for inspiration in the game we wanted to make. Once we realized that was the perfect framework for the game, we licensed the story of Kunuuksaayuka as told by Robert Nasruk Cleveland, and gained permission from his daughter, Minnie Aliitchak Gray. The game does feature real-life elements as well, of course — we worked closely with the community to make sure that everything you see in the game reflects what you would see in real villages and other environments.
There are many things that the Inupiat people consider to be core values, but the three that we chose to focus on in Never Alone are resilience, interdependence, and intergenerational exchange. Resilience is obvious: life in the Arctic is incredibly difficult in the best of times, and when you add the fiercest blizzard in history to the mix, only the most resilient of people will be able to survive.
Interdependence isn't just about Nuna and Fox relying on each other to make progress in their journey, although that's definitely the most common example of it in the game. She will, but just because a character is human doesn't mean that they will help Nuna in her journey.
Early in the game, Nuna acquires a special bola that has been passed down to people in her village for generations, but she mostly uses it to solve puzzles and clear obstacles. Enemies in the Arctic are so fierce and dangerous that Nuna and Fox's best option to deal with them is usually to run. As James Nageak, our Inupiaq narrator, says during the game: "Kaakami nanuq nikatchalaitchuq." A hungry bear will not give up easily!
If you play through the game in single-player mode, you can switch between Nuna and Fox at any time with one button press.
In addition to her aforementioned bola, Nuna can climb ladders and ropes, and move heavy objects.
Over the course of the game, the two companions will have to use every trick up their sleeve to stop the blizzard. Players can unlock informational videos about Native Alaskans as they progress through the game. You unlock those Cultural Insight videos (as we call them) by finding owls in the environments you visit.
The game takes place in a snowy region of Alaska, which means a lot of white in the visuals.
Heavy fabrics and natural materials were gathered to create the movement of the characters, while chunks of tree bark, shards of ice, tons of snowballs, three party pizzas and a frozen stream were used to create the texture of the surrounding harsh environment.
The two of them worked very closely with one of our ridiculously talented engineers, Chris Eng, over the course of many months to implement and tweak the audio until it was as much of a character in the game as Nuna and Fox. Each of the three platforms presented their own unique challenges along the way, but the main difficulties we've run into with new hardware is simply the short timeframe we've had to get the game up and running on each system.
We got our development hardware a little later than we would have liked based on the schedule of our project, so it's been pretty amazing to watch the Engineering team work their magic. Our producer Matt Swanson has been the one to handle our relationships with the console manufacturers, so I'll let him answer that.
The documentation they provided was very clear and readable, and the tools they provided for preparing the metadata and publishing was incredibly easy.
We've even been approached by representatives from other cultures who've seen how much we care about telling stories through this inclusive development process, and want to work together with us to tell stories from THEIR culture through this new genre of games we're creating. But we've also grown pretty attached to Nuna and Fox, so I don't think anyone has heard the last of them!
Other Ocean is a distant relative to a company called Digital Eclipse, which was started, I believe, in 1991. We eventually became Backbone Entertainment after a merger with a company called ImaginEngine.
That company, NGMoco, was amazing – we were in a position to create a lot of firsts for mobile and I loved it, but it was also a startup and very grueling at a time that my wife and I were expecting our daughter.
Way back in January of this year (2014), I started doodling with the game engine we used in a previous game. I posted an image of it and basically said "It draws a red box" and asked what I should do with it.
He filled me in on what they were planning to do with the Xbox One, and asked me a lot of questions, and then asked if I'd be interested in bringing the game over. Other Ocean has developed a lot of licensed games, plus a few unique ones like Duty Calls and Dark Void Zero. I've only experienced this once before in my career, and it was for a game called Death, Jr.
Everyone in the studio has contributed to #IDARB and their motivation comes from a place of true excitement to be working on it. Speaking of the collaborative process, have you received any particularly weird suggestions from fans? How does it feel to have industry veterans like Tim Schafer and the staff of Giant Bomb not only support your team, but even agree to be featured in the game?
We will never be Activision or any of these larger companies, and we will never be able to out-market those guys. When I moved to California, I looked him up and featured him often in Next Generation magazine. I remember later thinking about how I might be the only guy in the documentary who felt that way, and I might seem crazy. Other Ocean recently hosted a launch party for #IDARB coinciding with the premiere of the Atari: Game Over documentary.
Tales from the Borderlands is a brand-new episodic adventure game set within the Borderlands universe. To celebrate the launch of Tales from the Borderlands, Telltale Games recently held a premiere event at the Alamo Drafthouse Cinema in Richardson (Dallas), TX. For those who are not lucky enough to live near an Alamo Drafthouse, the theater is unique in that it combines movies, food, and alcoholic beverages in one awesome location. Looking around at the audience, you'd see a great many members clothed in Borderlands t-shirts and even cosplay. Randy kicked things off with a magic trick in which a girl from the audience chose between five cards at random. After the opening concluded, a member of the Telltale staff began to play the game on the theater's 60-foot screen. To start with, we see the game's all-new male protagonist Rhys wandering around a desolate location named Prosperity Junction. Rhys is an up-and-comer at the Hyperion Corporation, an arms manufacturer and one of the many factions engaged in the exploitation of Pandora and its citizens. Unfortunately for the blue collar trio, Rhys' boss Henderson has just been replaced by the ruthless Hugo Vasquez (voiced by Patrick Warburton). Soon we descend to the planet and witness Rhys and Vaughn attempting to purchase the Vault Key with stolen Hyperion funds. Once Rhys and pal meet with August and his lady friend to broker the deal, things seem to be going smoothly enough. Tales from the Borderlands is another in a long-line of adventure games from Telltale, makers of The Walking Dead and Wolf Among Us.
While the story and setting will immediately appeal to Borderlands players, the actual gameplay differs greatly from Gearbox's Borderlands titles.
Telltale Games are famous for allowing players to have a say in the outcome of character interactions and the overall story.
Tales from the Borderlands Episode 1: Zero Sum is filled with fun references to the Borderlands games and universe.
Even after seeing the complete episode play out on the big screen, I couldn't wait for the game to launch so I could play it for myself and make different choices. It started out as a mini-game inside Project Gotham Racing 2 for the original Xbox but Geometry Wars has grown since then to become a well known stand alone game franchise on its own. Geometry Wars 3's biggest feature is that it uses 3D grids for the first time, as players control their ship and combat a variety of enemies with different power ups in its unique retro art style. Lucid Games is an independent studio formed by a group of ex Bizarre Creations employees who wanted to create great games with AAA production values. There have been a lot of idea's knocking about for a while within the team, as we started getting them together with various prototypes we felt that we had something that would prove to be an exciting new installment in the Geometry Wars franchise. Yes the previous games were fantastic, and we have been really meticulous in bringing the core elements over to the new machines to ensure they capture that magic of the 360 originals. How does the 3D grid element change the gameplay compared to the first two Geometry Wars games? The 3D grids bring in some interesting new tactics to the player, for example an enemy may be chasing you and you can fly to a narrow part of a shape to outrun them and take them out, or you can use more precise analogue ship movement to slow down at times when moving around a sharp corner. The power ups are triggered by destroying a swarm of special enemies (Called Super states) that appear in different formations for a brief period of time. We have a range of gameplay modes for the player, including evolved levels where you have to score as much as possible before you lose your life, pacifism modes where you have to score by using tactics other than shooting, painter levels where you have to stop the grid being coloured in by painter enemies and much more. There are a lot of elements in Geometry Wars 3: Dimensions, one big addition over retro evolved are the drones, these act like a wingman and have different personalities and attacking traits. We hope to bring more content in the future as there is a lot of things that we want to explore further with the game, and we love working on it.
It's great pick up and play fun, and even better with friends as you can challenge them on every one of the 50 levels as the game has individual leaderboards and a rival notification system. The game incorporates voice acting for all of the dialogue, which is nice for fans of the series. The map has four (well… I guess five) main areas that you will explore while searching for princesses of the kingdom. Adventure Time: The Secret of the Nameless Kingdom was created by WayForward Technologies in conjunction with Little Orbit. Here at FFoP we use a rating method that you may be unfamiliar with, so allow us to clarify. The next Adventure Time game for consoles looks like as earnest an attempt as any to do better than the games that came before it.
WayForward has been toying with the Adventure Time property in games for a while now, and hasn’t quite managed to merge the show’s wacky personality with a compatible interactive experience up to this point. This release sees Finn the human and Jake the shape-shifting dog travel to a new area within the Land of Ooo for the coronation of three princesses. The gameplay itself invokes a classic Zelda-esque top-down perspective, and although you’re free to move 360-degrees, sprites are two dimensional and only have animations for certain angles.


Still, the camera perspective isn’t the only thing borrowed from Zelda, as the entire game feels like a clone of Link’s first outing.
The boss fights, for example, are terrifically designed puzzles rather than tests of combat skill, and the dungeons themselves are well conceived, varied, and abundant with little challenges. Adventure Time: The Nameless Kingdom doesn’t always capture the vibe of its source material, but it comes pretty darn close.
Wait, People Thought Final Fantasy VII Remake and Kingdom Hearts III Were Releasing This Year?
If you are a fan of zelda link to the past and other similar games their is a good chance you will enjoy this. The pair must traverse the frozen climes of Alaska as they seek a way to stop the endless blizzard that plagues Nuna's village.
Before you grab the game (or after!), be sure to read our in-depth interview with Sean Vesce (Creative Director) and Grant Roberts (Lead Game Designer) from E-Line Media, the publisher of Never Alone. The tricky part for me is reconciling games that have come out in the last 15 years with those. That computer (a Timex Sinclair 1000) had a staggering 2KB of memory and used cassette tapes for storage. After all, back in those days, if you wanted to make games for a living, you had to know how to code.
CITC wanted to explore ways to tell their stories and share their culture with modern audiences, so [the two groups] began a collaborative process that has been unlike anything I've ever been a part of. E-Line Media is headquartered in New York, but the Never Alone development team operates out of Seattle.
Some of my favorite games of the last few years are Braid, FEZ, Limbo, Journey, Rayman Origins and Legends, and Brothers, so you'll probably see their influence in the final gameplay experience. We eventually settled on the story of Kunuuksaayuka, which tells the tale of a man whose village is plagued by an eternal blizzard, and his journey to find its source. So while the framework of the game follows the story of Kunuuksaayuka, Nuna and Fox have plenty of other adventures featuring well-known characters from Inupiat stories along the way.
The blizzard is the main antagonist in Never Alone, so Nuna and Fox have to take shelter from it whenever they can.
But interdependence also means relying on other members of the community around you to live your life. The story of Nuna and Fox is voiced in spoken Inupiaq (another first in games!) by an elder. When confrontation does happen, the companions will usually have to use their wits to survive rather than attacks. It's a lot of fun to switch back and forth in the middle of puzzles (and more exciting times) so each character can use their own unique abilities. Not all of them can be found on a normal playthrough, though — some of them are hidden in difficult-to-reach places. This is why it was rendered using a lot of pastels and desaturated colors, which helped us to create very moody, dreamlike visuals while still portraying an authentic and believable Arctic world. The landscape and environment depicted in the game served as the jumping-off point for both the mood of the music and the timbre of the sounds used. Sound elements were hunted down during field recording trips deep into the snowy mountains and forests, and later extracted and manipulated to create a custom reality for every jump, every landing and every footstep that Nuna and Fox take on their great adventure. We went from not even having the dev kits in house to the game running beautifully on all three platforms in a matter of months. Funny story, though: I got my start in the video game business back in 1997 when I was an Editor for Next Generation Magazine.
It took a while to hear back, as I'm sure they were inundated by applicants, but once we received confirmation from them everything was a breeze from the publishing end. Everything was in one place, with lots of instruction and a clear pipeline for going through the certification process — a very welcome relief for a first-time publisher working on a new platform. I can say that over the course of this project, people from all over the world have taken notice of what we're doing. Can you tell us a little about your background and what you do when you're not making games? Digital Eclipse made its mark as the creators of the first commercial emulation of classic games, with Defender, Robotron, and Joust for the Macintosh. I was moonlighting with Andrew Ayre (CEO Other Ocean and previously of Digital Eclipse) on a few Game Boy games while still working at Next Generation game magazine. And not too long after that, we formed Foundation 9, a large collective of great game studios around the world.
So that holiday I ran into Andrew, and we were like "Let's get the band back together!" He had arranged to take one of the Backbone studios with him when he left Foundation 9, and I joined Other Ocean and that's sort of how it all came together. I wanted to get back to programming, and I hadn't done it for a while, and I also wanted to work on something that I could share.
I hoped maybe a couple of my friends would chime in or I'd get a few weird ideas, but I didn't expect the engagement to be so rich and fascinating.
He's always been a huge advocate of independent games, way before there was even a term for it.
We suddenly saw the effect of a marketing and publishing titan strap on the rockets and the game, now only really a few weeks old, was standing toe-to-toe with Titanfall on the show floor. What's it like to collaborate with fans on #IDARB and receive so much praise from the press? We have a lot of fun with the game, and we still, after all these months, love to play the game.
Some throwaways like "Put in Leland Yee selling rocket launchers to children" would show up, and we'd actually take a stab at some of those ideas. We have a song editor now that enables players to create victory songs for their teams, and a logo editor to create logos. It's actually really awesome that we have an "industry" that is still small enough to be filled with all of your friends and that those people can support you when you are small and don't have the means to get the word out.
But when people like Tim, Brad, Jeff and the rest of the crew give you some of their valuable time to help promote you, it's a bit humbling and amazing. I had the game as a kid, and so did a lot of my friends, and we all played the hell out of it. But I really believed it, and it was exciting to see my friend Ernie Cline also come onboard, who I knew felt the same way, and then Seamus Blackley, and all these people I've worked with come to Howard's defense. Here's this guy who was an amazing mentor to me, and supporter of my career, and now it was his moment.
The best part was that it felt like a reunion of all of my old Backbone coworkers and partners and all my friends. A collaboration between Telltale Games and Gearbox Software, Tales is the most story-driven Borderlands game yet. This marks the first time a game has debuted at the renowned movie theater chain, and we were lucky enough to attend. Walk into the lobby and you'll see a bar at one side, with the lobby and hallways filled with movie memorabilia and interesting decor.
We caught sight of Gearbox CEO Randy Pitchford in the front row, along with Anthony Burch (Borderlands writer), Matthew Armstrong (Borderlands franchise director), Mark Darin (Creative Director at Telltale), and many more.
It started out with a traditional animated Borderlands intro narrated by the accented arms dealer Marcus Kincaid. Along with his friends Vaughn from Accounting and Yvette, Rhys wants nothing more than to move up in the company and the universe at large. But we return to the present and discover that both Rhys and Fiona are being held captive by the same masked man.
Things do indeed go sour, with the locked briefcase full of money stolen by a team of psycho bandits. Rhys and Fiona will get into lots of trouble with bandits and other enemies, but the sequences play out via quicktime events (QTEs) instead of first-person shooting. Throughout the first episode of Tales, our presenter frequently had to stop and choose between dialogue responses and actions for the characters to take. You'll meet a certain Vault Hunter, choose authentic Borderlands equipment for a talking mech, and get a tease of another fan favorite character that will show up in future episodes. Whether you're a Borderlands or a Telltale fan, Tales from the Borderlands is a must-play adventure game. This week, the arcade shooter series gets a new installment, Geometry Wars 3: Dimensions, from UK-based Lucid Games.
We now have a great mix of guys and girls who have worked on a wide range of games from PGR to Wipeout and obviously Geometry Wars.
All the nuances of the controls and enemy behaviours have been accurately moved over to ensure that fans of the originals will be able to pick up the pad on their new machine and will feel at home.
We feel that these add depth and a different range of tactics for players to use when in some battles.
Depending on their shape you trigger the appropriate power-up, including Homing missiles, Quad bullets, Shield, spreadfire and more. You can level them up and also assign them a range of special abilities that you can trigger when in the heat of a battle.
You can also play Co-Operatively with up 3 friends around the same machine in a special 10 level adventure and you can also battle online with 8 player competitive multiplayer.
Geometry Wars 3 Dimensions is out now for PC, via Steam, and will be released for the Xbox One and Xbox 360 on Wednesday. Each release comes with so much hope, as the show seems so ripe with potential for a video game. That being the case, I went into this not knowing what to expect, and wondering if all the references in the game would be lost on me (and anyone else that hasn’t kept up with the series).
Adventure Time: The Secret of the Nameless Kingdom finally gets the pairing right, and while it’s not without its flaws, it’s a lot better than most other TV to video game adaptations. However, the trio have mysteriously vanished, and it’s up to the aforementioned duo to rescue them by conquering dungeons and overcoming obstacles with new items and abilities. All of your favourite characters put in an appearance, all brought to life by their respective voice actors, and the same bright, hand-drawn aesthetic further complements the authenticity. As such, moving and swinging your sword diagonally is visually the same as doing it horizontally, which can make combat a little tricky to judge.
Bushes are ripe with treasure and beg to be cut down with your sword, while multi-tier dungeons are full of puzzles and hidden goodies.
The show often parodies video games, so interpreting the cartoon’s silliness through the lens of an 8-bit Zelda title feels fitting. Meanwhile, the quests in the overworld often trade on the strangeness of the series, acting as self-aware nods to the show. With only three main dungeons to complete to save the princesses, you can get through the adventure in a couple of hours.
The heavy Zelda influences, humorous quests, and visuals are all on the right track, with our chief complaints being the inconsistent dialogue, lack of guidance, and barebones content. That game sucked and didn't capture the feel of the show at all, so I'm pleased this game gets closer to it. Never Alone is a unique and beautiful window into the folklore and culture of the Native Alaskan Inupiat people, and also an entertaining game in its own right. We've got lots of behind-the-scenes details, concept art, and an exclusive gameplay video that highlight just what an uncommon game Never Alone really is. So I took classes in and out of school to learn how to program in BASIC, Logo, PASCAL, and many others… until I realized in college that my destiny was to be found elsewhere.


It means having respect for the world around you, from your fellow person to nature and the spirits that are everywhere. But intergenerational exchange is just as important to us outside the game as it is inside.
Nuna and her people believe that Si?a is all around us, from the earth to the stars, whether it's visible or not. After you finish each chapter, you can replay it at any time and try to find the hidden owls. In addition to using traditional instruments like the piano, he created a palette of unique sounds using recordings of ice and snow and even processed bird and animal sounds. Mike spills the beans about a new #IDARB feature, the history about Other Ocean, and even shares some moving words about the recent Atari dig that he attended.
Activision would send me design notes and information on what I needed to learn to become a programmer and all kinds of encouragement, and Atari would send me order forms for their games in appreciation and suggest I become an arcade game distributor and work with the "Atari Team." And to be honest, I wanted to do that, too. They came in these really cool cardboard arcade-game-shaped boxes that now fetch a pretty penny on-line. Finally, I pulled up anchor and moved over to Digital Eclipse full time and worked on a bevy of Game Boy games, Game Boy Advance, PlayStation, etc. I left that company for a brief stint to help launch a mobile studio after Steve Jobs eloquently painted the picture of what the App Store would be on the iPhone.
Most of the games we work on need to be shrouded in secrecy and coordinated with a marketing team, etc.
We'd worked on games together, and he's always envisioned the day that small studios and teams could produce games and go straight to market on a console. At this point, I was still just doing this for fun at night, but once he sent over the hardware, we were pretty excited just to see if we could get it up on the Xbox. They were contributed to use my some awesome game industry folks like Jeremy Hoffmann and Abbie Heppe. So when the documentary came around, I had no idea what the story was going to be, or what other people were going to say, but when it came time to discuss the quality of ET and the talent of its creator, my pent up instinct kicked in. Players can grab the episodes individually as they are released, or opt for a season pass to get all five episodes for a little cheaper. Read on for my impressions of the Tales from the Borderlands Episode 1: Zero Sum reveal event and the game itself! The theater that Telltale had reserved was filled with aisles of seats spaced graciously apart, a long table in front of each aisle for viewers' food and drinks. The aforementioned voucher could be put to use on several special Borderlands-themed drinks in addition to the Alamo's regular selection. The Tales story follows the death of the notorious dictator Handsome Jack, the primary antagonist of Borderlands 2. The assailant demands that Rhys tell him about "the Gortys Project," which he begins to do. But before that happens, our protagonist overhears a phone call between Vasquez and someone on Pandora.
But even reaching the meeting proves exceedingly difficult, as the town of Prosperity Junction is teaming with bandits and ne'er-do-wells. Each of our protagonists blames the other for the failure of the Vault Key deal as well as their inadvertent involvement with the mysterious Gortys Project. Fiona, Sasha, Rhys, and Vaughn will have to team up and rip off the psychos if they ever want to get their money back.
It basically plays out like a caper movie, with equal parts comedy and intrigue throughout the narrative. Players will navigate 3D environments from a third-person perspective, looking for objects to scan (which always reveals a humorous description) and things to interact with.
Players will need to swipe in various directions or tap the correct button or icon in order to attack foes and avoid all manner of exaggerated peril. These parts were a blast during the premiere, as the audience shouted and cheered their preferred responses. It's being published by Activision as the first game under their revitalized Sierra brand, which will be dedicated to launching smaller, downloadable titles.
We got a chance to ask some questions, via email, to Lucid Games co-founder Craig Howard about their work on Geometry Wars 3.
We also have a range of 2D shapes, ensuring we have a large amount of variety in the challenges for the player. Previous entries wore their inspiration on their sleeves, and Secret of the Nameless Kingdom is no different. The writing and different sound bytes used while fighting or picking up drops all sound very much like they’re straight out of the show. These are found through exploration, though if you really need help, you can ask people at the castle when they are available. I tried a couple of different controllers in case that was the issue, but it didn’t make a difference.
Of course, they’ll be helped and hindered along the way by various friends and foes from the TV show. Unfortunately, the dialogue’s not quite up to the standard of the programme’s quirky humour, and subsequently it doesn’t quite capture the same tone. It’s honestly a strange oversight given the generally decent production values elsewhere, and smacks of a small budget. Similarly, your progress through the game will be dictated by the collection of new abilities and items, which will allow you to reach different areas of the title’s small map. Furthermore, while the Nintendo blueprints are clear to see, it’s not entirely devoid of its own ideas. At one point you’ll need to capture a fart in a bag in order to make the character Cinnamon Bun – a sentient, er, cinnamon bun – laugh so hard that he’ll fall off a bridge.
The act of actually learning the map means that your first run will take a little longer than that, but that’s because you’ll spend most of your time mindlessly wandering around trying to figure out what the game actually wants you to do next.
Fans of the show will probably have a blast here, and even newcomers may find some value in its retro RPG structure – but don’t expect this adventure to last a very long time. I only ever played the last one because it was a well meaning gift from my Girlfriend who knew I love the show, I think the only reason I'll play this one is if the same happens again. Yikes.I would imagine a proper Adventure Time video game as a high-budget, open world, third-person action RPG.
Part of that is playing through the game side-by-side with a friend or family member, which provides an experience that's unquestionably different from playing with someone in another room far away.
By third grade, I had these "design documents" (Stacks of drawings) of games I wanted to make.
We were known for original game designs based on movie and television properties and our experience in bringing classic games to modern platforms. I decided pretty much that night that I was going to try and put in every idea that I could and use it as a way to find what the game was going to be.
The fact that we can talk about the game during development, and make changes without having to go to a small committee who often times has its hands tied and is limited by the constraints of a license or IP. I hope the fun we are having shows through, because I really do believe that your attitude during the development of a game inevitably affects the mood and enjoyment [potential] of the game itself. While I was hacking away at the game, a friend of mine said he saw Howard posting on some forum, and he nabbed his e-mail address. We arranged to meet up and he told me the whole story, from the early days of his career, where and what he was doing then, and he gave me so many insights into the development of Yars and ET. He never outright said it, but you could always tell that the burden of being blamed for ruining something he really cared about and loved, the game industry, haunted him.
The first episode is already available on Xbox One and Xbox 360, Playstation 3 and 4, and PC and Mac, with the Android and iOS versions sometime thereafter. Telltale and Gearbox were so impressed, they treated her like a member of the family throughout the event. As she returned to her seat, Randy revealed that the other cards all said "kill." Guess she lucked out!
Thus begins a lengthy flashback that reveals how Rhys came to Pandora, the dangerous world where the Borderlands games take place. The bad boss man wants to buy a Vault Key (an artifact that can open a cache of alien riches) from the Pandoran dealer, but he'll need time to gather the money first. Both Fiona and Sasha have been raised into a life of crime by Felix, an elderly con artist. Lots of fighting, double-crossing, and even a little bonding takes place throughout the remainder of the episode. While it helps to know stuff (why a snail shows up in places occasionally, who characters are), it doesn’t lessen the enjoyment of the game. With solid gameplay, a fairly large map to explore with secrets and character cameos from the show, there’s something here for fans and non-fans alike. I watch the show all the time and the land of Ooo is just begging to be explored, with wacky characters to meet and so many evil monsters to fight. Definitely the game could have used some improvements but it was still fun to play a new take on an old style game. We wanted that personal touch to come through in the game itself as well as the experience of playing it, so we chose to focus on local co-op.
He was such a nice guy and he encouraged me to finish the game, gave me some critique, and then told me that the best games he's ever worked on built "complexity from simplicity." I would write him every once in a while, and he would write back with advice and words of encouragement. He'd joke about how he would work with Tod Frye, the creator of Pac-Man for Atari (Another game often blamed for the demise of the game industry), at other companies after Atari and they'd tell people, jokingly, that they were the two people who could destroy the game industry again. There is a point in which you need to find a particular character, and being that only two other people had played the game at the time (based on trophy rarity checked on PS4 – 100%, 50%, or 0% for what I had), I had no way of seeing what I was supposed to do online. As for gameplay, you can expect to be swinging your grass sword, blocking hits with your Jake shield, and upgrading abilities to access new areas.
Games like Neutopia, and Golden Axe Warrior were taken for granted, then slowly slipped into obscurity. Luckily, the show has a pretty in-depth wiki page, so I was able to get a feel for who I was looking for in the game world. Although none of them serve as a difficult challenge, they are pretty fun to figure out (the only one that took me more than a few seconds was the second one).
With a length of 6-10 hours (depending on how lost you get and what extras you choose to do), there’s quite a bit to do. Well, like moving giant rocks out of your way, or using Finn and Jake to get past puzzles that requires two people. There are two types of large range attacks, and sometimes they’ll clearly hit you and do no damage, where as other times they will miss and still hit you. And of course, you can always play through it again with added challenges (like not upgrading anything) and stuff to discover.
There’s also the ability to pound your way through wooden posts and normally switch activated walls, amongst several others.
You’ll also be collecting items, and filling your plastic bags by capturing things like bombs, as well as buying health and stat boosts, plus more.



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