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End of Abyss Is A Fantastic (And Hard) Addition To A New Era Of Survival Horror

End of Abyss Is A Fantastic (And Hard) Addition To A New Era Of Survival Horror https://ift.tt/925TrAF Trying to distill End of Abyss to a single sentence is difficult. I can call it a Metroid Prime-like, but it's also a survival-horror game with a sprinkle of Dead Space, but then I'd be remiss to not mention the souls-like influence too. Yes, it can be reductive to narrow a game down to its influences, but it's a testament to what makes End of Abyss interesting: its ability to execute on so many different elements so well, making it one of my most-anticipated games from 2026's Summer Game Fest. In my hands-on video impressions below, you can get a closer look at how it’s adapting all those genres and elements into its overhead perspective and twin-stick shooting controls, as well is cold and harrowing atmosphere. https://youtu.be/MuEmn32tbvg

How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later

How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later https://ift.tt/GvgXNM4

The Borderlands franchise holds a peculiar place within the history of the gaming industry, kickstarting a genre that has gone on to become a different kind of beast. After all, though the concept of combining both RPG and first-person shooter mechanics was first seen in 2007's Hellgate: London, the loot-shooter genre owes its popularity to 2009's Borderlands. And yet, today, many of the most popular loot-shooters are also live-service games (like Destiny 2 and Warframe). Borderlands is not, having never adopted that format. It instead has multiple sequels--some of which diverge from the original game and don't feature any looting or shooting.

Like these other live-service game franchises, however, character-driven storytelling has been one of the main unifying pillars of Borderlands, which has been supported by a writer's room. "Gearbox is casually unique in the sense that we maintain a writer's room," Gearbox Entertainment associate director of narrative properties April Johnson told me. "So we don't just plunk you to work on a project and say, 'Okay, enjoy the two of you doing this--we have multiple things that we are working on, so we won't Voltron up as a full unit until later.'"

Having a constant writer's room is a strategy you usually see in story-driven live-service games where maintaining a narrative vision over multiple years--over a decade in the case of some games like Destiny--is important. It's not often seen in AAA franchises that feature several sequels and recruit a new set of writers from project to project. Gearbox Entertainment is not wholly unique in this strategy within the gaming industry, but it is a rare exception and the team points to this as one of the reasons for how the studio has managed to curate a specific narrative voice across all its projects.

Continue Reading at GameSpot

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