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Review: Resident Evil 6 – Not As Nightmarish As You Remember

Okay, here’s the thing… Resident Evil 6 isn’t that bad. Wait, hold on, just hear us out. First released back in 2012, it genuinely felt as if the once mighty survival-horror franchise had hit rock bottom. Atmospheric environments and terrifying, lethal enemies were replaced by sprawling cities, gun-toting mutants, and explosions that would make Michael Bay green with envy. Thinking this was the direction the series was heading in, many fans understandably jumped ship. But time is a funny thing; now that Capcom has steered the franchise back on course with Resident Evil 7: Biohazard and a delightful remake of Resident Evil 2, we can look back on Resident Evil 6 with fresh eyes and appreciate it for what it is: an absolutely bonkers action title. Does it hold a candle to the earlier games in the series? No. But it’s also not quite the atrocity many make it out to be.

Bringing Resident Evil’s ‘action era’ to a grandiose conclusion, the sixth main entry is crammed full of recognisable characters, huge set-pieces, and perhaps the most impressively over-the-top iteration of the Mercenaries mode to date. If Resident Evil 5 dialled the action up to 11, then Resident Evil 6 rips the dial right off and shoots it with a rocket launcher. The main story mode is split into four campaigns, each of which is comprised of several meaty chapters. Co-op play is once again thrust into the limelight, and whichever campaign you choose to start with (apart from Ada’s), you can either play it with a buddy or settle for an AI partner. The good news here is that playing on your own is a much more tempting prospect than it was in Resident Evil 5. Capcom nailed how an AI partner should behave, and you’ll never feel like you need to spend time babysitting, reviving, or managing your partner’s inventory every 5 minutes in Resident Evil 6. They pretty much just look after themselves, leaving you to worry about your own backside.

The gameplay is another evolution of the over-the-shoulder view made famous from Resident Evil 4. General movement is a huge improvement from previous titles, ditching the tank controls completely to allow for a more aggressive approach to combat. You can dive in any direction, shoot from the ground, kick and punch enemies at will, and perhaps most crucially, move and shoot at the same time. Even for a straight up action title, the controls are remarkably versatile, and you’ll feel like you’re more than equipped to take on even the most fearsome of foes. This is a large part of why Resident Evil 6 was so lambasted upon release, because it effectively removes all sense of fear, but it actually feels really good in practice if you’re willing to embrace the absurd action.

There are, of course, multiple areas where the gameplay falls short. The herb system is frustratingly complex – rather than simply selecting an herb and replenishing your health, you have to first convert them into tablets, with one green herb making one tablet, two green herbs making three, and a mixture of green and red making six. Each tablet then restores one bar of your health meter. It’s quite frankly ridiculous, and we’d have much preferred the more simplistic spray system from Resident Evil 5. To exacerbate this issue, the menu system as a whole is horrendous, with each playable character having their own unique menu design. It’s needlessly complicated, and if you want to alter anything in the options menu, you’ll spend a good few moments just figuring out what each icon actually represents. And yes, quick-time events are sprinkled generously throughout the game, so if you’re not a fan, then just brace yourself.

The story itself is pretty hit and miss, overall. It feels like Capcom ran out of steam here, because the plot feels pretty inconsequential for the most part, and it’s downright awful at numerous points. The new main villain, Derek C. Simmons, can’t match up to the greats like Albert Wesker, Osmund Saddler, and Alexia Ashford, and even the returning protagonists feel like shadows of their former selves. Leon Kennedy retains almost none of his charm and wit from Resident Evil 4, and Chris Redfield spends most of the game in such a reclusive state that you’ll find yourself yearning for the days of Jill sandwiches and Ramon Salazar’s pesky ‘right hand’. It’s deliberately bleak, but feels like a step too far, and the overly serious tone is constantly at odds with the ridiculous set-pieces.

Thankfully, despite the disappointing storyline, it’s the smaller moments that really stand out: defending a gun shop from swarming zombies, storming an apartment block to locate survivors, riding atop a speeding train whilst fighting off a hideous bio-organic weapon, and many more memorable scenes make for a tense, exciting experience. The pacing is pretty spot on considering the sheer size of the game compared to previous entries, with an excellent variety of environments to explore, and the separate campaigns feel different enough from one another that, at the very least, they rarely feel particularly repetitious.

Aside from the main campaign, Mercenaries mode makes a welcome return, and it’s genuinely better than ever. Multiple characters and costume unlocks encourage multiple sessions, and there’s a good selection of stages to choose from. Additionally, a more difficult option called Mercenaries No Mercy features an absurd amount of enemies on screen at once, and it makes for an incredibly tense session as you constantly struggle to fight off the overwhelming horde. There are other modes, too, such as the multiplayer-focused Predator and Onslaught modes – these are fun in their own right, but don’t really compare to the addictive nature of Mercenaries mode.

Performance on Switch is much the same as Resident Evil 5. It runs well enough for the most part, targeting 30fps and mostly hitting it throughout the campaigns. It dips here and there, but unless you’re actively looking out for it, chances are it won’t hinder your enjoyment of the game that much. Gyro aiming has also been added via a patch, and it works really well in both handheld and docked modes, arguably giving you far more precision than a standard analogue stick would be capable of. You can also use both control methods in tandem, so you can use the analogue stick for more sweeping movements, then switch to motion controls for fine-tuning.

Conclusion

Resident Evil 6 will always have its fair share of naysayers, and that’s completely fine. It’s easy to disregard it thanks to its blatant effort to appeal to as many gamers as humanly possible, and in doing so largely losing its identity in the process. But it’s certainly not a bad game, and in terms of pure gameplay, it’s arguably far more accomplished than its immediate predecessor, albeit with a more disappointing story-line. If you’re after a straight-up action shooter, you could do a lot worse than Resident Evil 6, but if you’re looking for an experience similar to the earlier games in the series, then you definitely won’t find that here.

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Feature: The Story Of Blizzard’s Diablo Junior, The Game Boy Epic That Never Was

Diablo 2

Modern-day Nintendo fans may be able to enjoy the thrills of Diablo III on the move in 2019, but at the turn of the millennium, options for Nintendo-loving dungeon explorers were far more limited – although the outlook could have been quite different.

Following Diablo II’s launch in June 2000, Blizzard’s employees went in three directions. Max Schaefer and Tyler Thomson cajoled and badgered developers to join a team to work on Lord of Destruction; afterwards, most members of that team formed the vanguard of Diablo III’s production. Another flock of employees drifted to the opposite side of the office and ran through iteration-after-iteration on ‘Project X’.

Other employees drifted in and out of a third group; anyone uninterested in continuing Diablo II or joining a project that seemed unable to find a creative foothold were given implicit freedom – by way of Blizzard North’s egalitarian culture – to follow their own muses. “People took it upon themselves, semi-unauthorized, to start working on this stuff,” Dave Brevik, Blizzard North co-founder, explains.

Jon Morin came to fellow programmer Steven Woo with an idea. He had gotten his hands on a development kit for Nintendo’s Game Boy Advance, a full-colour portable system that ran games reminiscent of the 16-bit Super Nintendo. The kit resembled a game cartridge. Programmers and artists could write custom software to the kit’s microchip by compiling code, writing the data to the kit, and plugging it into the GBA as if it were a regular cartridge.

“Jon asked me to help out,” said Steven. “I got [a kit], too. They were only like 100 dollars when official development systems cost a lot more. It was something at a scale that one could conceivably finish without the huge teams that PC and full-size console projects were, then and now, sucking all the air out of the room.”

One of the many pieces of development work that took place before Diablo Junior was canned
One of the many pieces of development work that took place before Diablo Junior was canned

Jon and Steven asked Alan Ackerman if he’d like to lend his artistic talents to their project, a full-fledged Diablo title for GBA. There would be multiple character classes and oodles of treasure to loot and monsters to kill. Alan agreed, and in turn recruited his friend Stefan Scandizzo. Kenny Williams joined as a producer, and the ad-hoc team wrote up a proposal, which they pitched to Dave Brevik. “I thought it was great idea,” Dave says. “Hell, a Diablo-lite game with a town and lots of dungeons? I’d eat that up.”

Blizzard South’s managers read the proposal and pushed the team to develop the game for Nintendo’s classic, black-and-white Game Boy. The GBA was newer and more powerful, but the old-school Game Boy had a much larger share of the handheld market. Jon Morin was the point man on the project. He christened the game Diablo Junior and wanted it to appeal to kids, Nintendo’s target demographic for Game Boy.

Diablo’s action-heavy gameplay was simple enough for kids to grasp; the idea that electrified the team was Jon’s suggestion to incorporate a trading element similar to Nintendo’s Pokémon games. Released in red and blue cartridges for Game Boy in 1998, each edition of Pokémon contained exclusive Pocket Monsters that players had to trade by way of the Game Boy Link Cable. Diablo Junior’s editions would include unique items for players to swap. “We had a lot of really cool ideas, and I think it would have done well,” Jon says. “For one thing, it had the Blizzard name on it, and it was a Diablo product, and you had the whole trading concept which was so popular back then.”

The team came up with several story ideas before deciding that Diablo Junior would be a prequel to the first game. There would be three major cities, each leading players toward the center of the world and encounters with hordes of monsters and bosses. “The original idea, I think, was there were going to be three or four classes, and which class you picked determined which city you started in,” Alan recalls.

They planned on three heroes, and each would start their adventure in a different city. After leaving their starting city, players would enter one of two common areas. For example, a knight and spellcaster might enter plains reminiscent of Diablo II’s first act, while another class would set foot in a desert. “So you could play as the knight and you start in a different city. It’s a unique area for you, but then one area is shared after that, and then another area is shared,” Alan explains.

Diablo Junior's screens and menus were mocked up before the plug was pulled
Diablo Junior’s screens and menus were mocked up before the plug was pulled

Jon and Steven created a development environment on their computers. Alan and Stefan created art assets for characters, items, and dungeons that resembled the cathedral stages from Diablo. They committed to nothing. Early assets were meant as experiments, quick and simple tests they threw together just to get the hang of developing for Game Boy and following the Blizzard North model of getting a prototype running to see how it looked and played.

The team had just hit a major milestone, getting a character roaming through a dungeon, when Blizzard South contacted the bosses with concerns. “From what I remember the Blizzard South guys ran it through the accounting and determined that it was too risky financially,” says Steven.

Developing and selling software on cartridges for Nintendo hardware was like trying to hit a moving target. Nintendo charged so much money per cartridge, and cartridges had to be ordered through Nintendo. That meant developers had to predict how many units they believed they would sell long before a game was finished. A cartridge bearing the Diablo name was almost a sure thing, but almost wasn’t good enough for South.

“Blizzard Entertainment looked at it, and they were kind of like, ‘Well, we’ve never done a Game Boy game, so we’ve got no experience marketing that type of game,'” says Alan. “When you do a Game Boy game, you buy the cartridges from Nintendo. If you think your game’s going to sell 50,000 units, you buy 50,000 cartridges from Nintendo and they make a profit on that.”

Selling more units than the estimate could be an even bigger financial headache. If a cartridge game sold out, the publisher had to order more through Nintendo. Cartridges were shipped by boat and could take months to arrive. From there, they had to be manufactured, boxed and sent to retailers. If a game’s appeal had faded by the time the next batch of software hit stores, they might not sell, eating into profit made from selling the first round.

DiabloJr Status

“There was lots of risk in this project because there’s lots of ways you can lose money doing console games,” Alan continues. “On the other hand, we thought the Diablo franchise might do well. They got back to us and said, ‘It’s your call. You know all the risks. Are you that keen on this that you want the company to take that kind of risk?'”

Jon, Steven, Alan, Stefan, and Kenny laid out their predicament for Dave Brevik. He left the decision to move forward or cancel in their hands. Undecided, Alan met with a friend in the industry who had worked on console games, and who ran down warning signs to look for before committing to a project. Was it the first time a team had worked together? Were they working on an unfamiliar platform? Although working together in the past, the Diablo Junior project was their first time as a group, but it was the other warning sign that sealed Diablo Junior’s fate. This was the first time anyone had worked on the Game Boy platform. They decided to move on.

“I kind of look back and regret that we didn’t say, ‘Let’s do it,'” Alan concludes. “But at the same time it was probably a good call. If I hadn’t know about the whole cartridge-profit-margin thing, I would have said, ‘Sure.’ But having to guess how many cartridges [it] was going to sell? You’re kidding me. Why does anyone even make cartridge games?”


This excerpt comes from Stay Awhile and Listen: Book II – Heaven, Hell, and Secret Cow Levels by David L. Craddock, the second in his three-part series chronicling the history of World of WarCraft developer Blizzard Entertainment and Diablo and Diablo II developer Blizzard North. Book I is already available while book II is up for pre-order on Kindle devices and apps.

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Console Gaming Microtransaction Revenue Has Slowly Declined Throughout 2019

Are players getting fed up of buying skins, emotes, and all the extras in games?
Are players getting fed up of buying skins, emotes, and all the extras in games?

A new report from statistical group SuperData Research suggests that console players are spending less on in-game purchases.

As keen gaming fans will already be aware, additional in-game content has been on the rise in recent times with more purchasable cosmetic items, battle passes, loot boxes and more popping up in our favourite games. There’s a reason for that – the report says that “almost half of total console revenue was generated by in-game spending in 2018” – but 2019’s a different story.

SuperData says that in-game spending revenue has slowly declined over the past year, with trends suggesting that players are now less likely to spend money on such transactions overall and more likely to focus on one or two favourite games, rather than numerous titles.

As an example, Fortnite – while still being one of the most financially successful games in the world every month – has seen in-game spending “mostly declining since the start of 2019”, with combined revenue from PC, console and mobile failing to hit $100 million in September. Speaking about gaming in a general sense, the report suggests that “players are growing more and more wary of monetisation tactics”, and that developers will need to think of new and exciting ways to earn revenue in this way going foward.

“In-game spending as we know it has reached a saturation point. Between loot boxes, battle passes, one-time booster packs and individual cosmetic purchases, there is no shortage of in-game monetization tactics. These strategies, however, are not enticing everyone to purchase additional content. Developers must seek out and identify the best approach for converting players to spenders or earning back player trust that was lost due to poorly implemented microtransaction models.”

Do you tend to spend money on in-game extras, or are you fed up with the practice and wish we could go back to simpler times where all of a game’s content came on the cart? Share your thoughts with us below.

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Learn How To Be A Princess When Pretty Princess Magical Coordinate Arrives On Switch Next Month

If you’ve always dreamed of being a pretty princess, this seems like it will absolutely be the game for you.

Pretty Princess Magical Coordinate sees players restoring a fantasy castle to its former glory, ruined by the long absence of a princess. You’ll be able to decorate the castle, learn how to be a true princess and more as you try to fix up your brand new castle.

Here’s a lengthy description of the game (thanks, Gematsu):

Decorate Castle Rooms with Over 1,300 Interior Items
The game is set in the castle of a fantasy world ruined due to the long absence of a princess. The main character, who for some reason wanders into the castle, will attempt to revive the obsolete palace in order to return to the world she once belonged.

In order to reconstruct the castle, you must decorate all 20 rooms within it. Make use of over 1,300 items to decorate the interior of the castle to your heart’s content.

Wear Beautiful Dresses and Feel Like a Princess
Create a princess avatar, and dress up and do their hair and makeup with various outfits and parts. In addition to 50 respective dresses, shoes, tiaras, and hair ornaments, there are 25 respective hair styles and colors, and plenty of eye color, eye makeup, lip, and team variations.

Learn How to be a Princess through Lessons (Mini-Games)
In order to obtain stylish interiors and fashion items, you must polish your senses as a princess. To do that, you can play lesson mini-games to learn how to be a princess. There are six types of lessons in total.

Commemorate Your Interiors and Fashion Decorations with a Photograph
After fully decorating a room, you can take a commemorative photograph and save it to your album. You can also have your princess make various poses for the camera.

Continue Playing with Post-Game Activities
There are various “Challenge Objectives” which you can continue to try to clear even after clearing the story. Of course, you can also upgrade the rooms you created early on in the game with the interior items you obtained later on, as well as redo your commemorative photographs with your newly obtained dresses.

It’s launching in Japan on 5th December – no western release has been confirmed just yet – and is available to order from Play-Asia as we speak. Japanese games can be played on Switch consoles worldwide, although you might struggle to understand exactly what’s going on without knowing the language.

Does this look like your kind of thing? Share your thoughts with us below.

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Two New Pokémon Revealed In Sword And Shield’s ‘Final’ Trailer

A brand new trailer has been released for Pokémon Sword and Shield, revealing two brand new monsters in the process.

You can see all of the action unfold for yourself above; the two new Pokémon can be seen at the 0:23 and 0:48 marks although they only appear for the briefest of moments. At present, no additional information on these two designs – such as their names or typing – has been revealed.

We have some clearer images of them for you below (thanks, Serebii):

Pokemon2
Pokemon1

This would appear to be the final trailer set to be released for the upcoming games, as indicated by its title on YouTube. We imagine a western release of the trailer could be on its way shortly.

Do you like these new Pokémon designs? Share your thoughts with us in the comments below.

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Review: Garfield Kart Furious Racing – A Rancid, Regurgitated Hairball Of A Racer

“Garfield, the famous lasagna-loving cat, is back!” That’s according to the description for Garfield Kart Furious Racing on the Nintendo eShop. The reality, however, is quite another matter entirely. Despite a description (and a price tag) that would suggest this is a sequel to the infamous Garfield Kart, we’ve got news for you: it’s not. Furious Racing is actually a remaster of the original Garfield Kart, in that the tracks have been given a bit of a lick of paint. Amazingly, though, it manages to actually be worse than the six-year-old game it’s based on.

Sorry, we’re getting ahead of ourselves. We should know better, because Garfield Kart: Furious Racing teaches you not to do that. You could be looking at a turn ahead of you, thinking of how you’re going to approach it, when the game could ask: “Hold on a minute there, Snappy. You’re getting quite cocky there, sizing up that turn. Have you ever considered the possibility that I might just crash your kart for absolutely no reason? Well, consider it, child, because I might.” Let’s go back a step, then.

For those not familiar with it, the original Garfield Kart became somewhat infamous for its low quality, with things stepping up a gear when a prominent YouTuber declared it the worst game ever made. To be clear, it wasn’t: it was nowhere near it. At the risk of an “OK boomer” comeback, we’ve been in this game long enough to know there have been plenty of titles over the years that were far worse than Garfield Kart. That’s not so say it was any good, mind you – we tore it a new catflap when it was released on the 3DS – just that its notoriety came as a result of some sizeable exaggeration.

On paper, Furious Racing is the same game. You get the same eight racers from the Garfield universe, including the famous feline himself, his tragic owner Jon and other such well-loved characters as Odie, um… Squeak the mouse, and Harry. Look, you shut your ignorant mouth, of course you know who Harry is. It’s Harry! From Garfield! The thing with the cat! Yes, of course, now you know who I mean. Well, Harry’s in there along with the rest of the gang.

You also get the same 16 tracks that were in the first game. None of these were particularly awe-inspiring in the first place, and slightly improving the environment detail doesn’t exactly transform them into Mario Kart contenders. It doesn’t even transform them into Race with Ryan contenders. Consider this: of the 16 tracks available, four of them are desert tracks. That’s a quarter of the entire game, a game based on a cat who famously rarely leaves his house, let alone travels to the chuffing desert.

There are also eight cars that correspond with each character, though you can swap them around to have, say, Jon drive Odie’s car, if you’re the sort of carefree anarchist for whom such reckless behaviour is likely to have you tearing chunks of flesh from your cheeks in pure unbridled hedonism. All the characters, tracks and cars are available at the start of the game so there’s nothing to unlock in that respect.

Indeed, the only unlockables are ‘comedy’ spoilers that can be put on the back of your car (here’s a spoiler: this isn’t getting a good score), and special hats that can be applied to your racer for extra bonuses. There’s a chef’s hat that makes your pie weapons travel faster, a Viking helmet that lets you use several lasagne power-ups in a row, and a cowboy hat that fixes all the game’s collision detection and improves its handling significantly, to the extent that it actually feels like a competent game. Okay, we lied: there’s no cowboy hat.

Which brings us to easily the most pressing issue with Furious Racing: it’s broken. Race around at the painfully slow 50cc setting and you shouldn’t notice too many issues, other than a handling system that’s hot garbage, with steering that’s nowhere near tight enough to get round many corners and a drift system that’s far too tight to be useful in every situation. Learn to cope with that, and you’ll have an issue-free time. Not a good time, to be clear, just a time that won’t have you uttering strings of obscenities that make you seem less “I hate Mondays” Garfield and more “I don’t like Mondays” Bob Geldof.

Step up to 100cc, however, and niggles start to appear. Play it on 150cc and it’s outright borked. This is a game that simply doesn’t feel like it’s been tested at these speeds, because there’s absolutely no way anyone could have played this for any length of time without noticing massive, game-breaking issues on a regular basis. In just our first hour with the game, we tumbled upside down simply for driving over a small bump, instantly snapped 180 degrees round after clipping the side of the road, ended up flipping sideways after brushing against a barrier and remaining that way for a good 15 seconds, and had all manner of odd results coming off jumps.

This isn’t an exaggeration: it’s extremely unlikely that you’ll finish a four-race Grand Prix without some sort of bizarre instance occurring that inevitably puts you at a disadvantage. This is a game that simply isn’t prepared to deal with fast-moving objects colliding with its scenery (or even its roads at times), and when fast things cause your game to exhibit more bugs than an early Pixar movie, a racing game’s the worst possible thing it could be.

If you’re lucky enough to get through a race without strange collision issues, you’re still unlikely to have a great time of things. The game has a tendency to trigger weapons extremely frequently, some of which you’re powerless to avoid. The pillow weapon in particular hits all enemies and makes them fall asleep, reducing their kart to a crawl. While it may be welcome to have your kart go slow enough to avoid the possibility of falling through the scenery for once, when it happens four or five times in a race it’s downright infuriating.

Even if you wanted to stick it out and struggle through the nonsense, there’s no real incentive to do so. As previously mentioned, every character, kart and track is readily available when you first boot the game, with the only unlockables being hats and spoilers. This is in stark contrast to the original Garfield Kart, which seemed to be built for a microtransaction system that was never implemented and resulted in you having to churn for up to 10 hours at a time to scrape enough coins together to unlock a single car. That’s no longer the case.

That isn’t necessarily a positive, though. We’ve gone from a game with unlockables that took a lifetime to earn, to one where almost everything is just handed to you at the start with no questions asked, and the remaining hats and spoilers can be unlocked by ‘simply’ winning races and Grands Prix (we say ‘simply’ because, of course, the game has that lovely tendency of frequently deciding: “Hmmm, I think I’d like you to fall through the track now, thanks.”)

You’re looking for a final insult to round this off, we can feel it. Something to really drive home the point that there’s nothing to salvage from this sorry affair. Well, put this in your exhaust pipe: at launch the Switch version is more than double the price of the same game on Steam. Even more bizarrely, there’s currently a Steam bundle where you can buy Furious Racing and the original Garfield Kart – which, remember, is what Furious Racing actually is, only more broken – for less than Furious Racing alone. As if they’re saying: “These games are so bad that the more you want, the less we can morally charge you”.

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Pokémon Center London Calls In New Pikachu Plush As Items Start To Permanently Sell Out

London’s pop-up Pokémon Center has introduced a new Pikachu plush for visitors to buy as other products begin to completely disappear from shelves.

The Pokémon Company has revealed that, starting today, the London Guard Pikachu plush will be available in limited quantities. There is a limit of one London Guard Pikachu plush per visitor, and daily quantities will also be limited, presumably ensuring that stock lasts until the store’s closure at the end of the week.

While not exclusive to the pop-up store, the London Guard plush appears to have been stocked in a bid to cope with the number of visitors still arriving each day. The London City Pikachu plush sold out completely yesterday due to what the store has called “phenomenal demand”, and the Grookey, Scorbunny and Sobble Varsity Hoodies also sold out at the same time.

The store has been struggling to cope with demand ever since it opened last month, with an increasing number of Pokémon fans asking for a permanent solution in the future. We’ve said it before and we’ll say it again: the UK could absolutely benefit from a full-time Nintendo/Pokémon store.

Here’s hoping it’ll happen sometime soon.

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Pokémon Sword And Shield’s Wild Area Web App Is Now Live

Wild Area web app Pokemon

Update (11th Nov, 13:00 GMT): The Pokémon Sword and Shield Wild Area web app is now available to explore, allowing fans to track down some of their favourite Pokémon in a Google Maps-like diorama.

You can go ahead and visit the app for yourself here, although everything is presented in Japanese. You can explore the Wild Area using arrows to move around, or by dragging the screen to explore your current surroundings; when you spot a Pokémon, you can click on it to reveal information and – if you’re lucky – a little animated movie which can be shared to social media.

It’s not quite as exciting as catching the Pokémon and exploring properly – as you’ll be able to do in the games – but at least it provides something for those unable to cope with the hype. Pokémon Sword and Shield launch this Friday, 15th November.


Original Article (Wed 16th Oct, 2019 15:50 BST): The Pokémon news just keeps coming today! Not only have brand new Gigantamax Pokémon forms been revealed, but now we have news of an online app which will let fans explore Pokémon Sword and Shield‘s Wild Area.

Scheduled to arrive in early November and to be available until 31st December, the new app will reportedly be known as ‘Pokémon Wild Area Search’ and will be available on PC, Mac, smartphones and tablets. It will allow fans to explore a diorama of the games’ Wild Area and find various Pokémon within it.

Wild1Famitsu
Wild3Famitsu

The app will feature a 360-degree camera and will allow users to enjoy encounters with certain Pokémon in CG form. We’re sure that more information on this will arrive in the near future, so we’ll make sure to update you when we hear more details on exactly how you can check this out for yourself.

It seems The Pokémon Company is coming up with a nice variety of new tricks to keep the hype rolling for the new games; the start of the month also saw a 24-hour livestream take place, giving players a chance to check out Pokémon in the new location of Glimwood Tangle.

Do you like the sound of this idea? Do you think it could be a fun way to check out some of the new Pokémon coming to the games? Share your thoughts with us below.

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Random: The Month Of Luigi Is Getting Completely Out Of Hand

Luigi

Update (11th Nov, 12:00 GMT): For some reason, the ‘month’ of Luigi (see below for more details) appears to be showing no signs of slowing down. A quick look at the @SuperMario_UK Twitter account reveals that Luigi’s reign is still very much in effect despite the fact that we’re now well and truly in November.

The account has been posting daily facts about Luigi since the beginning of October, promising more throughout the month, but is still going strong eleven days later. The account’s humour is still shining through, too. Here’s ‘Day 41’ of Luigi’s special month:

When will it end? Will it ever end? Is Mario finished? Has someone made sure that the Nintendo social media team are OK? Has Luigi redefined what it means to be a month? Amazing.


Original Article (Fri 4th Oct, 2019 11:00 BST): The month of October is now upon us and there are plenty of things for Nintendo fans to be excited about. Arguably one of the main reasons, of course, is the upcoming launch of Luigi’s Mansion 3, and Nintendo is celebrating in style.

Remember the Year of Luigi a few years back? Well, for one month only, Nintendo has decided to once again celebrate all things green by dubbing October 2019 as ‘Super Luigi Month’. The Super Mario UK Twitter account has been rebranded as Super Luigi UK until 31st October, the day of the new game’s release; from now until then, the account will be “dedicated entirely to Luigi and his esteemed history”. As it should be.

Things have already begun, with one Luigi-themed message seemingly appearing per day. Here’s what we’ve had so far:

If you’re wanting to join in with the celebrations, make sure to give @SuperMario_UK a follow to receive lots of Luigi goodness all over your timeline.

Are you looking forward to Luigi’s Mansion 3 later this month? Let us know if you’re planning on getting it with a comment below.