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New Xenoblade Chronicles 2 Screens Show Off Dromarch, Who You Can Ride Through the World

If you think way back to the original January review trailer for Xenoblade Chronicles 2, there was a brief moment where we saw a character riding a Blade we now know as Dromarch, and the creature has since been seen running alongside the party in various sequences from more recent trailers.

Keeping up the steady flow of interesting tweets for the game, the official Japanese account has now posted a couple of fresh screens reiterating that the Blade is happy to let you hop on for a ride in order to get around quickly. Just like in the original trailer, the screens show ‘Nia’ riding the Blade.

The wait is tough…

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Editorial: Nintendo’s Surprising Fanbase is a Major Strength, Which Bodes Well for Switch

As a ’90s kid I was only really aware of two main groups of gamers – kids and teenagers. It was a pre-internet age, so the points of reference were limited, but I doubt I was that far off. ‘Gaming’ had been a thing in the ’70s and ’80s, of course, but a rapid expansion of the industry – after Atari somewhat went off a cliff – was arguably driven by Nintendo and SEGA in the 8- and 16-bit eras, and a generation of people then grew up with the hobby. I think that’s why attending any game expo often highlights a lot of 30- and 40-somethings wandering around the hall. For some of us, games have always been a passion from the day we were old enough to hold a pad.

My personal gaming history has its own quirks that took in the ZX Spectrum and eventually a time when LucasArts was the name in PC game publishing. Yet through all those times most people I knew that played games were a similar age, give or take a half decade either way. I remember times my parents would join in for family games of PGA Tour Golf ’94 (!) or Micro Machines, but they always seemed like ‘guest’ gamers to my elitist young mind. That said, I once walked in on my mum ‘beating’ Columns II and getting to level 99, so that was an early sign of her gaming prowess.

As I’ve gotten older, and as I’ve gradually invested a lot of my gaming and now professional life in the fortunes of Nintendo, I’ve seen first-hand how the company has broadened its fanbase and, as a result, given itself a solid chance of success with each passing year. With the DSi, for example, my mum got one at the same time as me and fell for its charms in a whole different way. I’d play New Super Mario Bros. while she’d play something like Nintendogs, and then my dad got one and played random stuff like Sudoku apps. I felt like my home at the time was a microcosm of Satoru Iwata’s ‘blue ocean’, gaming for everyone. I’d ultimately be the only one playing the Wii 99% of the time, but like any good family we had Wii Sports routines. My mum would join in bowling, and my dad and I would have oddly competitive (and fun) games of golf.

The 3DS has continued the trend of the DSi, this time with my mum and brother on board. My brother and I have largely matching tastes, to be honest, yet when it comes to Animal Crossing: New Leaf, anything Harvest Moon / Story of Seasons or indeed a surprising range of RPGs (including Dragon Quest) my mum is the expert. I witnessed this first hand in recent years, seeing her gaming horizons expand in utterly surprising ways – with Nintendo’s system being the gateway.

The Switch, I have to say, has taken it all to another level. Everyone in my immediate family has one, all four of us, and it’s not just because of my day job. Between us we have four Switch systems spread across three homes, and whenever we visit each other we always bring them with us; it’s a lovely ritual where we always have a bag over our shoulder, protecting the valuable little gaming systems. I’ve written about this before, the way we share our Switch experiences across varied games. What’s amazing is how different we all are as gamers, yet even early on we all have our routines. My mum is a Breath of the Wild master dipping into Stardew Valley, my brother couldn’t resist Golf Story, and my dad is regularly buying games I previously never knew would interest him, like Oxenfree.

A key component to all this is the portability, of course, that hybrid nature that allows for taking it anywhere but also jumping into TV play. Like a lot of Nintendo’s most successful hooks it’s deceptively simple, but executed with enough confidence that the simplicity doesn’t matter. The form and the technology appeals, too, in ways that have surprised plenty of people; I remember after the January event worrying about the price – my dad said the price was a non-issue and, it seems, he was right. Plenty of consumers, at least early on, seem to see value in what it offers – that does matter, as a Nintendo system without a winning concept can fail, as we unfortunately saw with Wii U.

My family is only a small example of how broad the Nintendo fanbase can be, and the sheer nostalgia value and familiarity of the brand means that when the company finds the right ‘hook’ with hardware it can achieve amazing things. What prompted this article was a trip to the post office – when sending a parcel the topic of the SNES Mini came up with the lady serving me, who was probably in her 50s. “I really want one of them, apparently there’s more coming in time for Christmas. My favourite Nintendo console is the 64 though, I love that”. Righto, I thought, how marvellous and random. “The new Mario is out soon too, can’t wait to get that for my Switch”, she said. “Me neither”, I replied, sharing a smile.

It was an unexpected but a lovely moment. Two people that on the surface have zero in common, nattering away about Nintendo consoles; literally a generation apart, but we both love Mario and can’t wait for Super Mario Odyssey.

I walked away feeling like I’d experienced a very ‘Nintendo’ moment, and felt all the better for it.

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The Flame in the Flood Has “Smashed” Its Launch Targets on the Switch eShop

The Nintendo Switch userbase may well still be modest in size, due to the system only being 7.5 months old, but it’s evidently eager for new experiences on the system. Smaller publishers and developers have benefitted from this and there have been a number of heartening examples of studios being delighted by sales on the Switch eShop.

Curve Digital, publisher of The Molasses Flood’s debut game on the Switch, has spoken to MCV about the buzz within the company after seeing the launch day sales for the game. It’s gone well beyond what was expected on day one, and even represents the best launch that the game has had on console. Curve’s publishing director Simon Byron had this to say.

It’s a real relief having our personal enthusiasm for the Switch being backed up with sales success. It’s been incredibly frustrating only having anecdotal evidence about the buzz for Switch titles, so we’ve been genuinely desperate to get a game out there so we could get some hard data ourselves.

There was a real buzz in the office this morning – [managing director] Jason [Perkins] was in before me, which is very rare indeed – and it was specifically due to the excitement of seeing figures. I had a number in my head which I would be very pleased with – and it was a third over that. 

Indeed, it’s fair to say it’s had its best ever day on any console since we’ve been publishing it, beating any other format we have launched on. It’s done just under half of our first full month forecast in a day.

There are always nerves around launching a new title – and particularly on a new format – but The Flame In The Flood is a perfect fit on Switch and we’re delighted it’s been received so well. Next up for us on Switch will be Serial Cleaner, with Human: Fall Flat following in December.

Another success story in waiting, it seems, which can only be a good thing for the Switch eShop. The more positives we see around quality games achieving solid sales, the more talented developers we’ll likely see bring their games to the store.

It’s a good time for fans of download games.

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Review: Yono And The Celestial Elephants (Switch eShop)

Yono and the Celestial Elephants is an intriguing game from a design standpoint. While it looks the part of an educational cartoon meant for toddlers, within it hides a tale with a deep context meant for adults. The action feels like it belongs somewhere in-between these conflicting ideals. But does it work as a whole?

Yono and the Celestial Elephants is the story of the eponymous pachyderm finding his way into a world where he soon discovers he is something of a deity. His appearance forces the folk of the world to take what they thought were fairy tales and legends and put weight behind them, and prophecies foretold. Yono doesn’t completely understand this, but finds that helping people can be his modus operandi.

The visuals of Yono and the Celestial Elephants belie the heavy themes within the plot. There are tales of racial tension between the robotic Mekani, Day of the Dead inspired Bonewights and humans as well as exposition about unfair taxation, the ethics of power and straight up existentialism hidden within its bouncy veneer. None of it is heavy-handed nor ever overstays its welcome, but it’s weirdly powerful for such a quaint looking game.

As philosophical as its plot can get, Yono and the Celestial Elephants is a rather stock adventure game, and for those curious it has more in common with the obscure puzzle game Solstice than The Legend of Zelda. As Yono travels between towns he’s met with a plethora of obstructions on his journey; you reveal paths through environmental manipulation. You must push blocks to open new routes, crack rocks and set up Rube Goldberg-like contraptions to move along. It’s very basic yet endearing, because even though the solution isn’t hard to come by it’s still satisfying to overcome. For those hoping for a deep and rewarding combat system, meanwhile, there’s nothing of the sort here. Yono has a charging attack that feels clumsy, but the amount you actually use it is meager, making it easy to overlook.

While Yono and the Celestial Elephants is odd in its prose, the aesthetics are blatantly adorable. This may turn off a lot of gamers and admittedly the degree of challenge follows suit, but there should definitely be a place in the Switch library for such a game. The world feels billowy and soft, with round trees, soft grass and cuddly enemies. The music is very low-key and not remarkable at all, but at least it doesn’t distract from the game as a whole. The saccharine presentation is an interesting juxtaposition from the constant puzzling and abstract plot.

The game does a great job of filling itself out with extra things to do when you aren’t pushing Yono to the next realm. There’s a currency you can collect that unlocks fun new skins for Yono, from making him look as if he’s made of corduroy, to being covered by a constellation or even having him dress like Link, which adds to the charm. There’s a plethora of side quests that often devolve into either using Yono’s small stable of abilities or arbitrary fetch quests, and while they lack any kind of punchy design they often reward you with thought-provoking conversations that really dig deep into the lore of the world or the aforementioned heady social conversations.

Rounding out the extras are some letters that will spill out from vases and pots; you can then take them to a mystic who will reveal more of the history of Yono’s world. Again, nothing out of the ordinary for a video game, but welcome in its ability to bring life to Yono and the Celestial Elephants.

Conclusion

Yono and the Celestial Elephants, while simplistic in design, hides a curiously metaphysical tale behind it. Those looking for a Zelda-lite adventure might be disappointed by its straightforward approach and lack of upgradability, but those who are willing to give its lighthearted and deliriously cute tale a spin will find a worthy game to play.

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Nintendo is Reportedly Eager to See More Mature Games on the Switch

There’s little doubt that, aside from occasional exceptions, Nintendo hardware in the DS / Wii and 3DS / Wii U generations was seen as mostly family friendly, offering colourful and safe gaming experiences. There were some mature games, of course, but far less than you’d see on other gaming platforms; games like The Binding of Isaac were blocked for a time, as an example, though policies started softening a couple of years ago.

It’s been clear from day one that Nintendo has shifted up its marketing with Switch, which surely helped contribute to early success. Commercials and marketing has often featured older photogenic types in their late teens and 20s, a contrast to the consistent focus on children in promotional materials in past years. There are exceptions, of course, but from the first teaser trailer last October to the eSports-centric marketing around games like ARMS and Splatoon 2, Nintendo is seeking a different image for its latest system.

A Wall Street Journal report (paywall) explores this angle from the perspective of publishers and developers in Japan. When discussing the upcoming release of Gal Gun 2, Takuya Aizu – chief executive of Inti Creates – stated surprise that the pitch was welcomed by Nintendo.

I thought it wouldn’t be possible to release such a game for the Switch, but surprisingly, Nintendo gave me positive feedback.

An unnamed executive says that Nintendo was ‘passive’ towards more mature content in the past, but has now changed gear and is more open. We also have DOOM to look forward to soon along with Wolfenstein II: The New Colossus, as two examples, while even in the Indie space we can see that 18 ratings and edgier content are no obstacle to publication.

Some, understandably, are cautious around all of this and whether it could affect Nintendo’s family friendly image. Of course, Nintendo couldn’t do much more in terms of parental control options on the system, including the smart device app that gives guardians full control over the system. The goal will no doubt be to project that same family friendly stance, while also having the sort of content that’ll appeal to a wide range of older gamers.

The test, of course, will be in how 18+ content sells on the hardware, and whether publishers encouraged by Nintendo right now will feel inclined to come back with more games in the future.

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Team Vampire Triumphs in Latest Splatoon 2 Splatfest

It seems like a shame that we’re back to separate Splatfest themes between Europe and North America, especially if you’re in Europe. With the original Splatoon NA had neat licensed battles that skipped Europe, and recently us PAL gamers had a Splatoon 2 battle over toilet paper.

This weekend’s NA battle between Team Vampire and Team Werewolf is now over, and those adamant that Pearl will win every Splatfest that counts (outside of Global Testfires) are having a field day on social media.

Some of the replies are worth sharing…

So, were you on the winning team?

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Review: The King of Fighters ’95 (Switch eShop / Neo Geo)

Having already given us the ‘98, ’94, ‘99 and 2000 editions (in that order), HAMSTER now jumps back in time to give us The King of Fighters ‘95. As only the second entry in the series it lacks some of the features of later games, but the aim remains the same: pick a team and defeat a bunch of others on your way to a showdown with a final boss. With a good range of fighters to pick from there’s plenty of entertaining team battles to be had here, but inevitably this review will end with a recommendation to download The King of Fighters ‘98 instead.

It’s not a completely pointless re-release however. Anyone with a nostalgic interest in this particular instalment will be pleased with HAMSTER’s desire to re-release whatever it can, and for those interested in story this begins the Orochi Saga. There are a few brief and standard scenes during a playthrough, but each team also has their own ending which adds some replayability to the game if you’d like to see them all.

The character lineup is very similar to the first game, with seven of the eight ‘94 teams carried over. These include the Fatal Fury team and the Art of Fighting team whilst others feature the likes of Kyo Kusanagi, Yuri Sakazaki and huge ball-and-chain swinging Chang. Rugal (or rather “Omega Rugal”) is again the final boss, with Saisyu Kusanagi serving as a new Sub-boss. The USA team hasn’t made the cut, but their spot has been filled by the new Rivals team which includes popular Kyo rival Iori Yagami.

Unlike in the first game, you are not limited to the set teams and can put together a fighting force comprised of whoever you wish. This gives you a lot of options to experiment with as you try to find your perfect group of fighters; via some extra button holding it’s even possible to include Saisyu and Rugal in your trio.

Combat is smooth and the controls responsive as you perform various special moves and jump or sidestep out of the way of your opponent’s attacks. Sidestepping requires a two-button combination, but by default this is mapped to ZR on Switch controllers. Similarly ZL performs a taunt and holding both Z buttons is the easiest way to charge your power gauge. As always with these ACA releases button settings can be changed in the options menu should you wish to do so.

There are some great looking stages in the game, including an outdoor one where the action takes place in a thunderstorm; a tree split by lightning at the battle’s start is burning in the background. Also good is the stage that begins on a lift; the fight initially confined to the smaller space until it has settled into position. 

The game can get quite tough at times (particularly in the final fight), but becomes easier once you’ve settled on a team and got used to how best to use them. The difficulty can also be adjusted with eight settings available, and as is standard with these releases extra credits are just a button press away.

If you’d like a more traditional one-on-one, best-of-three rounds fighting experience this can be enabled in the options menu, although the cutscenes and endings still play out as if you have a full team. Further ways to play are provided by the usual one credit Hi Score and five minute Caravan modes, and if you are fed up of fighting CPU opposition a second player can of course buy in to the normal arcade mode and challenge you at any time.

Conclusion

The King of Fighters ’95 is a decent fighting game with a good selection of characters to pick from. Figuring out your best team and then battling through either the arcade mode or against a friend leads to some very enjoyable times. Subsequent instalments would improve on the formula, however, and that makes this game a less than essential purchase. What storyline is in the game will be of interest to some, but whilst it can certainly entertain The King of Fighters ’95 doesn’t offer as full an experience as The King of Fighters ’98; if you are only looking for one KoF game to stick on your Switch, that is the one to go for.

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Next Week on Xbox: New Games for October 16 – 22

Greetings, gamers and welcome to Next Week on Xbox! Another great collection of titles is coming soon to Xbox One, like the outrageous South Park: The Fractured But Whole, the open-world fantasy game Elex, and the next installment of the dungeon master series Dungeons 3. More details on these games and more are below, and be sure to come back every week to find out what’s Next Week on Xbox!

Southpark Fractured But Whole Screenshot Games
Join the South Park crew on another outrageous adventure in this screwball sequel to South Park: The Stick of Truth. Playing again as the New Kid, join Coon and the whole gang to bring justice to South Park’s crime-ridden underbelly. Only then will Coon and friends take their rightful place as the greatest team of superheroes ever assembled… and get the movie deal they so richly deserve. For a limited time, get a digital copy of South Park: The Stick of Truth on Xbox One free with purchase at the launch of South Park: The Fractured But Whole.
Elex Screenshot Games
From the creators of the award-winning Gothic series, Elex is a massive open-world role-playing game that allows you to help, betray, or kill whomever you want. With a unique take on class progression, you can become whatever you like, with an extremely wide selection of weapon to specialize in, everything from shotguns to magic.
Jackbox Partypack 4 Screenshot Games
Featuring “five and half crowd-slaying games,” The Jackbox Party Pack 4 for Xbox One brings with it a whole new group of party games to enjoy with your family and friends. Fibbage, Survive the Internet, Monster Seeking Monster, Bracketeering, and Civic Doodle can all be played on your phone, tablet, or PC — controller not required.
Dungeons 3 Screenshot Games
Unleash your inner dungeon creator in Dungeons 3, choosing from a wide selection of rooms, traps, and structures. Fill it with such horrific creatures like zombies, orcs, and succubae. Then bring your forces to the surfice where you will be tasked with brining corruption and evil to the land. With open-ended gameplay and randomly generated levels, no two games are alike providing never-ending evil fun.
Rogue Trooper Redux Games
The last Genetic Infantryman returns in Rogue Trooper Redux, remastered with HD graphics, remodeled assets, dynamic lighting, enhanced geometry, new special effects and more. Experience acclaimed combat and explosive third-person action in this BAFTA-nominated tale of betrayal and revenge at the far reaches of the galaxy.
TorqueL Screenshot Games
TorqueL is a unique 2D spinning action game where you work to reach the goal by rolling and stretching a box which contains your character. Features more than 50 total chambers with seven basic routes and one secret route. Enjoy the background music composed by Denji Sano (a.k.a. Sanodg) that uniquely plays along with the movement of the box.
Real Farm Screenshot Games
Time to cultivate success! In Real Farm, an immersive agricultural simulator, go from farm hand to expert in a deep career mode, or play in free play mode to explore the stunning open world of the American countryside. From business challenge to pastural playground, Real Farm cultivates the life, rewards, and natural beauty agriculture.
Abyss: The Wraiths of Eden ScreenshotGames
Discover and investigate a forgotten underwater city built in an intriguing Art-Deco style. This former utopia hides many spine-chilling secrets and supernatural forces, the remains of which still lurk in every corner. Face the ancient evil that is hiding in the deepest chambers of the city of Eden in this hidden object puzzle game.
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How cyberpunk spook-’em-up Observer is built to elicit ‘catharsis 2.0’

October is upon us, and that means we’ve got spooky games on the brain. 

To that end, we asked Bloober Team’s Rafal Basaj to join us as we streamed a bit more of the studio’s latest game, the cyberpunk horror game Observer, on Twitch.

He was kind enough to acquiesce despite the fact that he was joining us from Poland, nine hours in the future. In the course of our hour-long play n’ chat, it became clear that Observer is a deeply Polish game — but Basaj told us that Bloober was quite uncertain about whether or not it should pepper the game with cultural touchstones. 

“I remember at one point were discussing whether doing all these references in the game would make it hard to understand, for a Western audience,” said Basaj. “We figured out for a lot of people, it would be aesthetics. They won’t see those things, but it will be different for them. It will feel different.”

Later in our conversation, we dug deeper into what it means to make a horror game and why Bloober pitches Observer specifically as a “hidden horror” experience.

“Hidden horror has two principles to it,” said Basaj. “One, it has to have a subject…for Observer, it was the boundaries of humanity. “

“The other part of hidden horror is something we call ‘catharsis 2.0’,” he continued. “We wanted to not only relieve fears or tensions, but also go into the emotions, and how we as people think about the world. So, catharsis 2.0…[we want to] make the players think about how would they behave in such a situation.”

You can listen to our full conversation with Basaj (and watch our playthrough of the game’s opening hour above). Also, make sure to follow the Gamasutra Twitch channel for more gameplay commentary, developer interviews and editor roundtables.