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RoboCop: Rogue City Is An Underappreciated FPS That’s Just Over A Dollar Right Now

RoboCop: Rogue City Is An Underappreciated FPS That’s Just Over A Dollar Right Now https://ift.tt/8673sag RoboCop: Rogue City might be one of the best modern translations of an ’80s movie into a videogame. That’s an odd niche to be in, sure, but it’s one of the best FPS games for its absolutely brutal action mixed with a faithful RoboCop experience that doesn’t pull any punches. At just over $1 / £1, it’s an absolute bargain, so now’s your time to play it. Featuring an original storyline set between the events of RoboCop 2 and RoboCop 3—technically making it based on the ’90s version, but don’t stop me now—you play as the titular RoboCop, who used to be Alex Murphy. During a mission, RoboCop starts seeing visions of his past life, including seeing a hostage as his old wife. He hesitates, and obviously, for the fellows at OCP, that’s not good. With a fresh monitoring chip in his head to improve his performance, he’s then sent off to complete missions and stop crime in Detroit....

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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