Monday, April 29, 2013

Iron Man's TV History

With Iron Man 3 hitting theaters this week, it's time to take an updated look at the biggest star in the shared Marvel Cinematic Universe, Tony Stark himself.

Iron Man was introduced in Marvel Comics' Tales of Suspense back in 1963 and while he might not have always had the widespread recognition of Spider-Man or the Hulk, he still made plenty of television appearances through the years. And of course once he became a bona fide movie star and was quickly elevated to one of the world's most recognizable super heroes, the floodgates were open. In recent years, there have been as many as four different animated series featuring the character airing simultaneously!

Keep in mind this list is focused on television appearances, not feature films or direct-to-video projects.

Iron Man was one of five Marvel characters who starred in segments of this series, along with Hulk, Captain America, Thor and Sub-Mariner.

You have to at least be amused by any incarnation of Iron Man whose theme song says, "Tony Stark makes you feel. He's a cool exec, with a heart of steel!" What exactly does Tony make us feel though? Only a few dozen ladies can say. This series is infamous for its incredibly crude animation, which simply took actual comic book frames and moved them, ever so slightly, adding in the occasional creepy moving lips.

That being said, as others have joked, it certainly doesn't get more faithful to the comics than this stories are taken directly from Iron Man's Tales of Suspense days, complete with lots of goofy but fun Silver Age villains and melodrama. For those who grew up with this show in the '60s or caught it in syndication later, it's hard not to be nostalgic for this first-ever animated version of the Golden Avenger.

In a fun nod to the character's history, Jon Favreau included the Iron Man 1966 theme song multiple times in the first Iron Man movie - it's played by the band, as Tony is given an award at the start of the film (which he fails to accept, since he's gambling at the time) and it's also Tony's ring tone on his phone.

Amazing Friends was the first animated series to feature a large cross-section of characters from Marvel Comics existing in the same universe, so it was only fitting that Shell-head make an appearance. There are brief glimpses of Iron Man on a couple of episodes, but it was on the episode "The Origin of the Spider-Friends" that the character would have a true guest star role, though almost entirely as Tony Stark.

Twice, the Spider-Friends save Stark, who ultimately rewards them in a big way, as it turns out he's the one who supplies the gang with their "own crime computer and their hidden laboratory" - explaining how three college students had been able to afford to have all those cool gizmos that popped up when they slid a trophy forward.

Spider-Man is transfixed by the power of the stache.

We actually do also see Iron Man briefly in this episode too, even if Spider-Man doesn't. As the Spider-Friends defend Stark International from the Beetle, Iceman wonders where Iron Man is the action cuts to outer space, where Iron Man is seen destroying asteroids, as Stan Lee's narration explains he's "on a secret government mission."

Iron Man (1994)

The greatest thing to come from the first-ever completely Iron Man-centric TV series are the awesome opening credits to the second (and final) season. Those credits feature a shirtless, mulleted Tony Stark using a large hammer to create his armor, while cheesy faux-metal plays, complete with a familiar refrain "I am Iron Man!" It's both awful and wonderful all at once.

As for the show, it was unfortunately a mediocre affair (though the second season is better than the first), but it does remain notable for a couple of reasons. First was that the show had a large supporting cast of superheroes, mainly taken from the then-current Avengers spinoff comic book series, Force Works. As a result, the 1994 Iron Man series in some ways is the first ongoing look at an Avengers-type team in animation, as the cast included War Machine, Hawkeye, the second Spider-Woman, Scarlet Witch and the easy to forget 90s character Century.

There was also an action figure series released in conjunction with the show, which also was the first time Iron Man alone had been used as branding for his own toy line.

Voicing Iron Man was Robert Hays, the film actor probably best known for starring in Airplane! While the Iron Man series was over by February 1996, Hays would reprise the character twice later in the year, during a time when Marvel had many animated series on the air...

The Incredible Hulk / Spider-Man

The Robert Hays-voiced Iron Man guest starred on both the 1990s animated Hulk and Spider-Man series.

On The Incredible Hulk, Bruce Banner comes to Tony for help, but soon enough, Banner is big, green and smashing stuff, with S.H.I.E.L.D. in hot pursuit. Iron Man is joined here by War Machine, also continuing his earlier animated series persona. This episode also featured Tony donning a version of the Hulkbuster armor he'd previously worn on his own series.

With Spider-Man, the pattern established by Amazing Friends continued, with Iron Man making some earlier brief cameos, before Tony Stark had a notable guest role on the episode "Venom Returns." And as on Amazing Friends, a Stark invention is targeted by a supervillain Dormammu, who uses Baron Mordo, Venom and Carnage (in his first animated appearance) as his agents. In part 1 of this two-parter War Machine shows up, only to be hurt badly by Carnage. But in the second episode -- appropriately called "Carnage" -- Iron Man himself, intent on avenging War Machine, enters the fray and teams with Spidey for what ultimately is a big free for all battle between the good guys and the bad guys... and a very confused Venom.

Iron Man also had a large supporting role in the "Secret Wars" storyline on Spider-Man, which featured several other Marvel heroes. Spider-Man would be the last series to include the Robert Hays voiced incarnation of Iron Man introduced in the 1994 series. The character also was briefly seen on the 1990s Fantastic Four series, but it was just a brief visual cameo.

The end of the '90s saw the first official Avengers cartoon in the form of this less than stellar series, which rather incredulously had many of the characters wearing Power Ranger type outfits. Curiously, the three core Avengers from the comics -- Captain America, Thor and Iron Man -- were not a regular part of this series, presumably because their rights were tied up separately.

However, the three were glimpsed at the end of the opening credits, and Iron Man (like Captain America) did guest star on one episode of the series. He doesn't get to do all that much though, being rescued from the Stark space station and only really appearing in a few minutes of the episode.

If Space Iron Man had a mouth, he'd totally be talking trash.

There was at least one heroic moment for him, as (in a nod to the comics) he risks his own fragile heart to reroute power from his armor at a crucial moment. The one other notable aspect of this episode is that Iron Man is seen wearing a variation of his space armor from the comics for the entirety of his appearance.

Respawn’s First Game is Reportedly an Xbox Exclusive

A new rumor suggests that the first game from Respawn Entertainment will be exclusive to Microsoft. According to a report from Kotaku, anonymous sources suggest that Respawn’s game will come to Microsoft’s next-gen console and to Xbox 360, “but no versions for rival PlayStation and Nintendo consoles.”

The report calls the title “multiplayer-centric” and “designed for multiplayer,” with sources suggesting that “the game is always-online.” This tidbit seemingly confirms recent rumors that the next Xbox will require a constant internet connection, though Kotaku has been unable to clarify “whether the game would permit offline play” as well. The sources “did not think that the game would have a standalone linear campaign.”

The game’s multiplayer is said to “operate on a grand scale,” featuring two factions with support for up to 16 players, though “Respawn would add AI-controlled characters to make the action more frenetic and to give novice players a greater chance to score some kills.” The game is also said to feature Titans, which are “giant exoskeletons” that soldiers can pilot. The Titans are “big mech-style walkers that move with an agility not seen in games like Mechwarrior or Steel Battalions” and would lend credibility to a recent rumor that the game is titled Titan.

Other bits in the report suggest that Respawn’s game “is made on a modified version of Valve's Source engine, not on internal EA tech” and that the current-gen version is not made internally, but Respawn “is hand-picking a studio to make the 360 edition.”

Respawn was formed in 2010, though one blurry image marks the only official detail to be revealed. Respawn co-founder Jason West left Respawn in March, but Respawn confirmed that the game will make an appearance at E3. If it is Xbox-exclusive, we might get our first glimpse at Microsoft's upcoming Xbox reveal event, which has been confirmed for May 21st.

We’ve reached out to EA and Respawn for comment and will update this story with any additional information we receive.

Andrew Goldfarb is IGN’s news editor. Keep up with pictures of the latest food he’s been eating by following @garfep on Twitter or garfep on IGN.

Eight of the Most Hilarious Anti-Piracy Measures in Video Games

Developer Greenheart Games' Game Dev Tycoon has an impressively clever anti-piracy measure. Users that pirate the game will start out normally, slowly building up their own game development studio. But eventually, something funny starts happening. More and more gamers start illegally downloading your games, eating into your profit margins, until it's impossible to turn a profit.

This has led to incredible situations like real-world video game pirates complaining about the game's virtual pirates on the game's official forums. Oh, the irony!

Game Dev Tycoon isn't the first game to stick the proverbial thumb in the eye of game pirates, though. In fact the practice has a long and storied history, almost as old as the games industry itself. Let's take a look at some of the most amusing examples:

Michael Jackson The Experience DS

Ah, 2010. What a great year. Fantastic games like Mass Effect 2, StarCraft II and plenty more all hit store shelves. It was also the year South Africa hosted the World Cup, forcing millions of Westerners to hit up Google to discover just what in the heck a Vuvuzela was.

The team at Ubisoft working on Michael Jackon The Experience DS, determined not to let pirates get the best of them, had found their inspiration. When the game ROM detects that it's been pirated, it plays vuvuzela noises over all the music tracks. Well done, Ubisoft. Well done.

Operation Flashpoint

Sometimes the simplest anti-piracy methods are the most effective. The developers of Operation Flashpoint: Cold War Crisis start pirates off with normal weapons. But as pirates keep playing their weapons become less and less accurate, and less powerful. The player also starts to take more and more damage. Devious!

Mirror's Edge

Ubisoft isn't the only major publisher capable of clever and devious anti-piracy measures. If Mirror's Edge from EA detects you're playing with a pirated copy, it automatically slows you down before you reach key jumps that require lots of speed. Clever!

Batman Arkham Asylum

If Rocksteady's Batman Arkham Asylum detects a pirated copy, Batman's cape will refuse to open, preventing players from gliding. Besides making it much harder for pirates to be The Bat, it also makes the game unwinnable - gliding is required to progress in multiple sections of the game.

Grand Theft Auto 4

Rockstar is yet another developer to implement a simple-but-effective method of punishing pirates attempting to play Grand Theft Auto IV without paying. If a pirated copy is detected, the in-game camera wobbles around wildly after a few minutes of play. Bonus points for any gamer that can get Niko drunk in game with this screen wobble on and still complete a mission.

Alan Wake

Remedy's anti-piracy solution in Alan Wake isn't quite as aggressive as the others on this list, but it's still a good bit of fun. Pirated copies of the PC release give Alan... a pretty epic eye-patch. Pirates are also given a gentle reminder to please buy their software in the game's loading screen.

Serious Sam 3

Immediately after picking up the game's very first gun in the very first level, pirates are greeted with a super-fast, immortal red scorpion enemy. Doh! If these thieves manage to cheat or otherwise get around the deadly foe, a few levels later the camera locks up in an "up and to the left" position, forcing players into running silly circles.

EarthBound

Arguably the most devious and notorious example of "creative" copy protection is also one of the oldest. The good people at Starmen.net have the full scoop on EarthBound's anti-piracy measures. The short version? Enemy encounters become much, much more frequent, making the game a slog. If a pirate still manages to make it to the end, the game freezes in the final few moments before the climax, and deletes the save file. Brutal!

So there you have it. Eight of the most clever, brutal, or just-plain-funny ways that game developers have out-smarted game pirates over the years. Of course, there are more examples throughout the annals of video game history than we could possibly list here. Ghost Trick renders all of its text invisible. Chrono Trigger sticks players in an infinite time travel loop. Command & Conquer: Red Alert 2 blows up all of the player's buildings. While certainly amusing, these issues have been known to occasionally take on a darker edge, when they inadvertently happened to players to who had legitimately purchased their software.

Here, as with many things, the classics might have done it best. Games like Monkey Island, Leisure Suit Larry and King's Quest required players to access various physical goods that came with their copy of the game to prove they weren't running an illegal copy. These foolproof systems were genuinely fun, and didn't run the risk of unintentionally punishing a legitimate owner of the game. As long as they didn't lose their manual or code book, of course.

Do you remember any especially memorable examples of video game copy protection? Leave a note in the comments below and let us know.

Justin is Editor of IGN Wireless. He has been reviewing mobile games since the dark days of Java flip phones. You can follow him on Twitter at @ErrorJustin and on IGN.

Pre-Order Diablo III on PS3, Get a Free Helmet

Blizzard has announced that pre-orders are now open for Diablo III on PlayStation 3. According to Blizzard’s official site, pre-orders from select retailers will earn you an Infernal Helm, which “grants an experience point boost to any character who wears it, accelerating their progression as they rise in power.”

In some territories, specific retailers will also offer additional limited edition bonuses, though none have specifically been revealed.

"We've poured blood, sweat, and hellfire into creating an epic Diablo III experience for PlayStation gamers," said Blizzard CEO Mike Morhaime. "In addition to including all the improvements from the PC version over the past year, we've made several updates to Diablo III for play on the PS3. We got a ton of positive feedback from players who tried the game at PAX East, and we can't wait to get it into everyone's hands later this year."

Blizzard notes that the PS3 version of Diablo III “has been custom-tailored for PlayStation gamers, with updates to the game's thrilling boss battles, an all-new user interface featuring an intuitive control system, and a dynamic camera perspective that will make vanquishing evil feel like second nature on the PlayStation. Players can take on the vile denizens of the Burning Hells alone or in a party of up to four via same-screen local cooperative play, online play over the PlayStation Network, or any combination of online or local players.”

Diablo III was originally released for PC in May of last year. Blizzard announced it for PlayStation 3 in February, and also said a PlayStation 4 version will follow.

Andrew Goldfarb is IGN’s news editor. Keep up with pictures of the latest food he’s been eating by following @garfep on Twitter or garfep on IGN.

Portal Creator's Ouya Exclusive is Soul Fjord

Soul Fjord, the next game from Portal creator Kim Swift and the team at Airtight Games, is an Ouya-exclusive dungeon crawler with rhythm-based combat.

"The typical recipe of a rhythm game meets rogue-like dungeon crawler, set in a fantasy universe where Norse mythology has gotten an injection of '70s funk and soul," says Swift, is what makes Soul Fjord special. Its grindhouse-y, 'sploitation elements, which you can see in the trailer below, definitely hit those points.

Disco Wizards, Lounge Dragons, and Norse-Funk music.

"As a team," she continues, "we have this sliding bar between '70s funk and Norse mythology. Every decision we make from music, to atmosphere, to characters, to environment we have to make a choice on where we want that slider to land. What that means to you is...Disco Wizards, Lounge Dragons, Norse-Funk music and the baddest Viking in town, Magnus Jones." As Jones, players explore procedurally generated dungeons as he clobbers his way through random enemies and into Valhalla.

Something nutty like this would typically find a welcoming home on PC, where communities live for indie games, or PlayStation Network, where Airtight's own Quantum Conundrum found a loving audience. I asked Kim Swift if Soul Fjord would ever make its way outside the unproven Ouya and onto those markets. "Currently, Soul Fjord is slated to be a console exclusive only to the Ouya, and is designed around the console," she says. Like DoubleFine's Broken Age, this open-endedness allows Airtight to bring Soul Fjord to mobile and PC as well.

For Swift, what sets the Android console apart is "that it’s not trying to fit into the arms race of the next-gen consoles. I do believe that there’s space for Ouya with the rise in popularity of indie games, coupled with the fact that [Ouya's] price point will make [it] the most reasonably priced gaming machine on the market."

Vikings and soul. Hell yeah.

Swift is over-the-moon positive about Airtight and Ouya's relationship, which she sees equally opportunistic and beneficial. Ultimately, it comes down to the hand-in-hand leap of faith that typically comes with launching a new game franchise.

"We’re taking a chance on Ouya being a new console, and they in turn are taking a chance on us."

IGN recently spent significant time with the hardware, and came away impressed, but were let down by the games. Soul Fjord is just what Ouya needed. Will you be taking a chance on both?

The Ouya blog will have a developer diary for Soul Fjord today, and IGN will have plenty more before its to-be-announced release.

Mitch Dyer is an Associate Editor at IGN. He’s also quite Canadian. Read his ramblings on Twitter and follow him on IGN.

App Store Update: April 29

Every day hundreds of new apps make their debut on the App Store, and hundreds more are updated or reduced in price. We have sifted through the noise and highlighted those select few that might be worth your attention. For more mobile game trailers, reviews and news be sure to Subscribe to IGNMobileGames on YouTube.

App Store Update Video

Game Debuts

Survivalcraft – ($3.99)

An all-new clone of Minecraft has washed up on the shores of the Store today, and it'll be interesting to see how it sales end up competing with the official Pocket Edition of its source material.

Pixels & Dungeons – ($1.99)

More old-school dungeon-crawling with old-school visuals.

Vanished: The Island – ($2.99)

SkyHorse Interactive kicks off an all-new adventure series by sending you to explore a mysterious island:

Price Drops

Stone Age: The Board Game – ($4.99)

Normally priced at $6.99, Campfire Creations has knocked a couple of bucks off of Stone Age for a limited time.

I Dig It HD – ($0.99)

For a more severe price drop, check out I Dig It HD – this subterranean adventure debuted at a price of $9.99 in 2010, so digging all the way down to just 99 cents is quite a savings.

Freebies!

Glow Puzzle – (Free)

Connect all the dots with a continuous path, but don't use any of the available lanes more than once.

Multiponk – (Free)

Up to four people can compete across a single iPad screen in this slick multiplayer take on Pong:

Gyro 13: Steam Copter Arcade HD – (Free)

This tough-as-nails copter navigating challenge rewards only those players with enough patience to steer their steampunk helicopter with subtle care.

Tentacle Wars – (Free)

This hit Flash strategy game first came to iPad, then iPhone last year. Today it's available for free – but only today! Similar to games like Galcon, Tentacle Wars is an attempt to distill the realtime strategy genre to its most elemental state. A 40-mission single player campaign and online multiplayer are included.

That’s it for today! Email subscriptions to the App Store Update are still just one sign-up away, right here:

Lucas M. Thomas is going to start working on his own original game, Craftmine. You can follow Lucas on Twitter, @lucasmthomas.

Kirk Confronts Harrison in New Star Trek Into Darkness Clip

Watch this intense new scene from Star Trek Into Darkness, featuring a confrontation between the heroic Captain Kirk (Chris Pine) and the sinister John Harrison (Benedict Cumberbatch):

Star Trek Into Darkness opens May 17.

Call of Duty: Ghosts Teased on Official Site

A potential teaser for Call of Duty: Ghosts has appeared on the franchise’s official site. An image is slowly being built on a new teaser page, populated based on Tweets using the #CallofDuty hashtag.

While the image isn’t complete yet, it appears to be taking the shape of the mask of Simon “Ghost” Riley, the British soldier last seen in Call of Duty: Modern Warfare 2. This would add credence to recent rumors that the next Call of Duty is called “Ghosts,” including retail listings that show off a potential box art.

The next entry in the Call of Duty franchise is expected to be revealed on May 1st. We’ve reached out to Activision for clarification on the teaser site and will update this story with any comment we receive.

Andrew Goldfarb is IGN’s news editor. Keep up with pictures of the latest food he’s been eating by following @garfep on Twitter or garfep on IGN.

Dead Island Devs Announce Hellraid for 360, PS3 and PC

Techland, the studio that's made games like Dead Island and Call of Juarez, has announced platforms and given their previously named "Project Hell" an official title. Now called Hellraid, it's described as a "first-person co-op slasher," Hellraid will have both a single player campaign and a multiplayer mode where you, "destroy the denizens of hell and compete with your friends for points and rewards."

It isn't entirely clear how the game will play from the initial screenshots, but Techland stated that it will feature, "melee, ranged and magical weapons." It also apparently puts an emphasis on randomly generated content, and loot and enemies will apparently be placed differently when you jump back in.

Hellraid is currently slated to be released later this year for 360, PC, and PS3.

Anthony Gallegos writes about PC games for IGN. Follow him on Twitter for random ramblings, as well as on IGN.

Nintendo Selling Refurbished Portables Online

Want a 3DS, but don't have enough cash to plop down for a glorious XL model? Well, you may be in luck. The Big N is now selling refurbished DSi XL and original 3DS systems in its online store.

These secondhand portables come with a one-year warranty. While they may have "minor cosmetic blemishes," they're guaranteed to be fully functional and have been "cleaned, tested, and inspected to meet Nintendo’s high standard."

Options include a Midnight Blue or Metallic Rose DSi XL for $99.99, or those same color choices along with a copy of Mario Kart DS for $129.98. On the 3DS side, you can get an Aqua Blue or Midnight Purple original 3DS for $129.99, or the same colors along with a copy of The Legend of Zelda: Ocarina of time 3D for $169.98.

Source: Nintendo Everything

Audrey Drake is a Nintendo Editor at IGN. She is also a lifelong gamer, a frequent banisher of evil and a wielder of various legendary blades. You can keep track of her wild adventures by following Aminka on IGN, @GameOnAminka on Twitter, or TheDrakeCave on Tumblr. Game on!

BioShock Infinite DLC To Feature ‘New Companion Character’?

The first downloadable content for BioShock Infinite may feature a new AI companion. The LinkedIn resume of a senior animator at 2K Games lists work on “BioShock Infinite DLC1” including “providing animation and R&D for a new AI companion character."

The resume also mentions that the animator “learned the custom pipeline used by Irrational Games and provided all animation planning and management for the project” as well as a collaboration with 2K Australia for “managing outsource animation” and the “cataloging of existing BioShock animation assets and custom UDK implementation.”

While no specific name or concrete information is provided in the resume, this is our first hint that BioShock Infinite’s DLC could feature characters other than Booker and Elizabeth. Shortly before the game’s release, Irrational announced a Season Pass that will include three pieces of content for BioShock Infinite. So far, no specific release date or other information has been officially revealed.

We’ve reached out to Irrational and will update this story with any comment we receive.

Thanks to superannuation for the heads up.

Andrew Goldfarb is IGN’s news editor. Keep up with pictures of the latest food he’s been eating by following @garfep on Twitter or garfep on IGN.

Silent Enemy is a Fearless Game About Bullying

"You cannot bring someone to someplace you haven't been yourself."

Vander Caballero, the founder of Minority Media and lead on 2012's emotional journey Papo & Yo, said these words to me a few weeks ago, and I can't seem to shake them. The thought was in reference to Silent Enemy, the studio's upcoming game that combines a fantastical setting with a handful of deeply moving themes -- things our medium has rarely had the courage to explore.

Silent Enemy is set in the land of Permanent Winter which, as you can probably guess, has been blanketed by centuries of frost. All manner of creatures, whether man or beast, struggle to survive through the harsh times, save for the crows. Those sly tufts of black plumage embrace the cold and prey upon the rest of us who have to suffer through Winter. There are legends of a thing called Spring, but no one really believes in the fairy tales of those halcyon days.

This is what Silent Enemy is about, but it's not really what it's about.

Yes, you play as a boy who roams the tundra collecting spirits and using them to freeze rivers, push obstacles, and inhabit the bodies of smaller animals. But much like Papo & Yo, which just recently made it's way to Steam, the core mechanics lead to a very real story that's rooted deep inside its creators. Instead of Papo's story of Vander's relationship with his alcoholic father, Silent Enemy is very much a product of Minority's design director Ruben Farrus. As a child growing up in Spain, Farrus had to suffer through years of bullying that left him physically and emotionally scarred for decades. He confesses that he still wakes up in the middle of the night wrapped in nightmares of decades-old bullying.

You can't use a mushroom to grow and simply stomp out your worries.

The crows that stalk the wasteland and prey on the helpless creatures are the specters that haunt Farrus' nightmares. (By the way, if all of this is sounding quite Game of Thrones-y to you, you’re not alone.) You can't directly combat the foes, because Vander and the team at Minority Media doesn't believe that violence is the solution to bullying. As he puts it, "You can't use a mushroom to grow and simply stomp out your worries." In fact, they're not sure whether the phenomenon of bullying can be solved at all. What they want to do is tell a story that shows that things get better, and marry that narrative with therapeutic game mechanics.

It was refreshing to see Silent Enemy in its current, uncertain state. The footage Minority showed off was clearly in an alpha stage. Vander and his team are honest when they say that they're not 100% sure of where the game is heading. They have a rich theme, interesting world and some solid mechanics, but are still far away from completion. I can't help but respect them for their earnestness.

Those crows look like jerks.

Interestingly enough, Minority hasn't decided on a platform for Silent Enemy. The team is currently prototyping the game using an Ouya controller, and they've really taken a fancy to the touchpad delivery method of control. It would make sense for it to hit on iOS, but they've also expressed interest in PC and next-gen consoles as well.

Silent Enemy continues Minority Media's unspoken goal to creating games that act as a form of therapy. They're bringing us to dark place that they've been to before. Though it's still in its early phases, it's nevertheless an idea that immediately demanded my attention for the simple fact that it dares to go places that few games ever tread. Through Papo & Yo and now Silent Enemy, it's clear that Vander and the team at Minority Media set out to make games about themselves, but unbeknownst to them, also succeed in making games about us.

Marty Sliva is an Associate Editor at IGN. He really loves it when a game has the courage to be completely earnest. Follow him on Twitter @McBiggitty and on IGN.

Microsoft's IllumiRoom to be Integrated Into Next Xbox?

Microsoft has teased more information on its IllumiRoom may be coming this week, causing speculation to grow that the device has been incorporated in the design of the next-generation Xbox.

The company has promised more information will be coming at a CHI 2013 event that begins this week, but a document released ahead of time makes reference to the device working with "a next-generation gaming console".

If you're not 100% sure what Microsoft's glorified projector entails, watch the below video to get yourself up to speed.

The brief explains, "Our vision for a fully developed IllumiRoom system includes an ultra-wide field of view device sitting on the user's coffee table, projecting over a large area surrounding the television.

"The device would be connected wirelessly to a next-generation gaming console as a secondary display."

With the next Xbox reveal due to take place on May 21, we should find out then just what role the IllumiRoom has to play with Microsoft's new console, assuming we don't hear anything this week, of course.

What do you reckon? Does the prospect of the IllumiRoom being integrated into the next Xbox excite you, or do you have qualms about anything that relies on Kinect? Let us know your thoughts in the comments.

Thanks, The Verge.

Luke Karmali is IGN's UK Junior Editor. You too can revel in mediocrity by following him on IGN and on Twitter.

LG's 55-inch Curved OLED HDTV Launching Next Month for $13,500

At CES earlier this year, LG showed off its 55-inch curved OLED HDTV, and the company has now announced that early adopters can get their hands on the world's first television set of its kind next month.

According to Engadget, LG's curved display will be priced at 15 million won (about $13,500) and is said to deliver an immersive "IMAX-like" experience and better viewing angles. The television is only 0.17 inches thin and weighs just 37.48 pounds with the help of a carbon fiber-reinforced frame, and features transparent film speakers. LG retail stores in South Korea will be accepting pre-orders for the new OLED HDTV starting today, with deliveries planned for some time in May.

Samsung also unveiled its own "world's first curved OLED TV" at CES, although LG's long-standing rival has yet to announce pricing and availability for its offering.

Justin is all about his family and his gadgets. Follow him on MyIGN or on Twitter at @ItsTheLingo.

Kevin Conroy Not Returning For Arkham Origins

Veteran voice actor Kevin Conroy, the man responsible for providing the Batman's gravelly tones in all manner of media from the classic 90s animated series to the two Arkham games, will not be returning for Batman: Arkham Origins.

That's according to the latest issue of NAG Magazine (via Arkhamverse), which reports that Warner Bros. Games Montreal has decided to enlist an unnamed voice actor to play the game's younger version of the caped crusader.

Alongside providing Batman's voice in multiple TV shows, Conroy has done a fair amount of video game work: in addition to Arkham Asylum and Arkham City, he's also given the Dark Knight a voice in the likes of DC Universe Online and the recently released Injustice: Gods Among Us.

It's worth noting that this hasn't been confirmed by Conroy or Warner Bros. Games Montreal, the studio picking up the development torch from Rocksteady for the third entry in the Arkham series. Until we hear anything from one of them, it's possible that this is just a rumour, though it does make sense that the studio would go for someone younger to reflect the inexperience of Origins' Batman.

What do you think? Are you perturbed to hear Conroy may not be returning, or is there someone else you reckon could fill the role? Let us know your nominees in the comments.

Batman: Arkham Origins is in development for PC, PlayStation 3, Xbox 360 and Wii with a targeted release date of October 25. A handheld companion game, Batman: Arkham Origins Blackgate will also be available on this date on 3DS and PlayStation Vita.

Luke Karmali is IGN's UK Junior Editor. You too can revel in mediocrity by following him on IGN and on Twitter.

Beyond: Two Souls is Ten Hours Long

Quantic Dream head David Cage has revealed that the upcoming narrative-focused Beyond: Two Souls will last for ten hours.

Speaking at an event for the game at the Tribeca Film Festival (via Gamespot), Cage revealed the figure after a 35 minute clip of the title's "Homeless" level was shown.

Because people wanted to see the end, they wanted to know what would happen next.

The figure comes after mock scripts for the game were sent to media outlets last week, revealing the title's narrative spans over 2,000 pages.

Cage also revealed he's confident that most gamers will finish the title, as his last game Heavy Rain had a higher than average completion rate amongst gamers; typically about 20 percent of players see a game through to its end, though for Heavy Rain this number was about 75 percent.

In his opinion, this is down to the story-heavy nature of the game. He explained, "Because people wanted to see the end, they wanted to know what would happen next…all this was very important."

Alongside the 35 minute clip, a new trailer for the game was debuted at Tribeca, which you can check out below.

Luke Karmali is IGN's UK Junior Editor. You too can revel in mediocrity by following him on IGN and on Twitter.

First Footage of World of Darkness Vampire MMO Shown

At EVE Fanfest in Iceland, CCP showed the first footage of vampire MMO World of Darkness to a roomful of fans. It was more target footage than a representation of what the game looks like right now – it’s still far from release – but it’s the first tangible indication we’ve had of what this long-anticipated game is going to be like.

It looked super-stylish, embracing the sultry swagger and urban grime of modern vampire fiction. The player character – a female vampire – began by sucking a bystander dry in a rainy back alley, before striding past a True Blood-esque bar and leaning up against a railing whilst other vampires leaped across the American-style city rooftops in the background. The movement is agile and fast, almost spider-like; World of Darkness will be a very movement-centric MMO, aiming for something close to Assassin’s Creed’s city free-running.

Only the briefest glimpse of combat was shown – I saw the protagonist-vamp kick another off a rooftop before he could charge up a power, slashing his throat and, once again, sucking him dry. The footage ended just as the rest of his gang turned up and a fight between four player-character vampires was about to go down.

It’s a game that embraces vampire vanity and fashion as well as urban grime, gothic architecture and the necessary backstabbing.

A few of World of Darkness’ core ideas were very much in evidence here. It’s a game that embraces vampire vanity and fashion as well as urban grime, gothic architecture and the necessary violence and backstabbing. McDonough explained last year that World of Darkness is built around three themes: the sandbox (enabling players to form friends and then betray them, and opening up the world for them to shape and dominate as they will), the coffeeshop (social interaction), and the themepark (player-versus-environment: the stuff that the developer provides, rather than the players).

Over the past year, they’ve been working mostly on the coffeeshop aspect. It was hinted that there will be companion apps to keep you engaged in World of Darkness’ world when you’re not playing – perhaps mirroring the in-game smartphone, which glowed briefly in the vamp’s hand at the beginning of the demo.

Despite the developer’s entreaties not to film the demo and put it on the Internet, typically someone broke trust and the footage is out there – but CCP’s Chris McDonough made it clear that they are not ready to start talking properly about World of Darkness yet, and it will still be a long while before they are. Release-wise, the game won’t be out before the end of 2014, but it’s encouraging to know that progress is being made.

Keza MacDonald is in charge of IGN's games coverage in the UK. You can follow her on IGN and Twitter.

The Best Anti-Piracy Measure Ever

Developer Greenheart Games has come up with an impressively smart anti-piracy measure for its first game, Game Dev Tycoon - in which people who've downloaded a cracked version will feel the effects of piracy in-game, too.

As an experiment, the developer decided to release a cracked version of Game Dev Tycoon onto torrent sites along with the genuine version, pre-empting piracy. "The cracked version is nearly identical to the real thing except for one detail," explains Greenheart on its website. "Initially we thought about telling them their copy is an illegal copy, but instead we didn’t want to pass up the unique opportunity of holding a mirror in front of them and showing them what piracy can do to game developers." After a few hours of building up your virtual game studio, this message appears:

From then on, everything pirate players make in-game has a huge chance of being pirated, and it becomes almost impossible for them to make a profit. The most brilliant thing about this is the responses that Greenheart has found online from players who didn't pay for the game.

Ahh, the irony. There are plenty more over on Greenheart's site. This isn't the first time that developers have tried to make a point with anti-piracy messages. Rocksteady released a cracked version of Batman: Arkham Asylum onto the Internet that was complete except for one tiny detail: Batman's cape-glide ability didn't work. Back in 2001, Operation Flashpoint's developers decided to make the game degrade slowly as pirates played, with enemies becoming ever stronger and guns ever weaker until the game eventually became unplayable. For me, though, this is the cleverest.

After one day on sale, Greenheart says, 93.6% of players had downloaded the illegal version rather than buying it legally. "If years down the track you wonder why there are no games like these anymore and all you get to play is pay-to-play and social games designed to suck money out of your pockets then the reason will stare back at you in the mirror," the developer says.

Nonetheless, creator Patrick Klug isn't mad at pirates, and doesn't believe in DRM. He entreaties them to spend the 8 dollars and see what the game really should be like.

Keza MacDonald is in charge of IGN's games coverage in the UK. You can follow her on IGN and Twitter.

Monaco Fix Submitted Soon, Coming to XBLA Soon

Monaco creator Andy Schatz took to Facebook to update players on the status of the Xbox version of the game.

The game had been delayed on XBLA due to niggling bug. "We caught a bug that forced us to pull the release of the Xbox version of the game the day before release," writes Schatz. "It was a minor but important bug that was causing disconnects in online play."

But he's optimistic that the issue will be resolved shortly. "I'm working on another fix now that I'm hoping to submit this week. Once it's confirmed fixed it shouldn't take long to push it through and get the game out. I can't promise any particular dates since I don't control that end of things, but I do know that fans are starting to get a little impatient with the lack of information."

Schatz couldn't confirm the date on which we could expect to see Monaco on XBLA. He won't know that until the fix has been submitted, but has promised to keep players update as soon as he knows.

You can read IGN's Monaco: What's Yours Is Mine review or watch the video review below:

Daniel is IGN's UK Staff Writer. You can be part of the world's most embarrassing cult by following him on IGN and Twitter

Iron Man 3 Beats The Avengers Opening Weekend at International Box Office

Iron Man 3 opened in 42 territories around the world over the weekend – that's about 79% of the international market, so not small by any stretch. And the latest outing for Tony Stark has so far taken a staggering $195.3 million. That's more than the $185.1 million taken by The Avengers grossed over its opening weekend.

It's worth noting, however, that in some territories Iron Man 3 had a slight advantage over The Avengers, opening on a Thursday, not a Friday like The Avengers. But saying that, the film has yet to open in Russia, China or Germany – so it's still a pretty impressive feat.

It had the highest grossing weekend ever in Argentina, Hong Kong, Indonesia, Vietnam, Taiwan, Philippines, Malaysia and Singapore. And was the biggest opening ever for a Marvel movie in Australia, Sweden, Norway, Denmark, Netherlands, Finland, Hungary, Romania, New Zealand, Argentina, Hong Kong, Indonesia, Vietnam, Taiwan, Philippines and Malaysia.

Iron Man 3 opens in the US on May 3rd.

Daniel is IGN's UK Staff Writer. You can be part of the world's most embarrassing cult by following him on IGN and Twitter

First Look at Adventures of Superman #1

A few months back, we brought you the news that DC Comics was planning a brand new addition to their stellar digital-first lineup in the form of Adventures of Superman, a series of the industry's top creators doing out-of-continuity tales about the Man of Steel -- with the red trunks!

The first of those stories debuts today on the DC Comics app for a meager .99 cents, and is written by Jeff Parker with art by Chris Samnee. I can't think of two better creators to kick this thing off, so I'm super pumped to show off the preview of this first chapter.

We also got the current lineup of creators for the first couple of months of this weekly book, check it:

  • April 29 -- #1 written by Jeff Parker with art by Chris Samnee
  • May 6 -- #2 with Jeff Lemire on board as writer and artist
  • May 13 -- #3 written by Justin Jordan with art by Riley Rossmo
  • May 20 -- #4 written by J.M. DeMatteis with art by Giuseppe Camuncoli and Sal Buscema
  • May 27 -- #5 written by Joshua Hale Fialkov with art by Joëlle Jones
  • June 3 -- #6 co-written by Michael Avon Oeming and Brian J.L. Glass with Oeming also doing pencils and inks
  • June 10 -- #7 first of a three-chapter arc written by Matt Kindt with art by Stephen Segovia
  • July 17 -- #8 second of a three-chapter arc written by Matt Kindt with art by Stephen Segovia
  • July 24 -- #9 third of a three-chapter arc written by Matt Kindt with art by Stephen Segovia
  • Cover for chapters 1-3 by Bryan Hitch
  • Cover for chapters 4-6 by Giuseppe Camuncoli
  • Cover for chapters 7-9 by Stephen Segovia

Not too shabby, eh?

Additionally, I had a quick chat with Parker about his take on the Man of Steel.

Chapters 1-3 Cover by Bryan Hitch

IGN Comics: We’ve been talking about this question a lot at IGN for Superman’s 75th birthday, so I’ll ask you as well… what does Superman mean to you?

Jeff Parker: Uh, everything? He means heroes, he means comics. Superman made really clear to young me the ideals of justice and morality, things kids believe in strongly and want to see somebody who isn't afraid to to fight for those things.

And when I'd pull Superman off the spinner rack I knew I was going to get some BIG ideas dropped on me. I was lucky to have a lot of old comics left over from a relative so I got to read Otto Binder stories early on. Also I was really into the stories by Nelson Bridwell and the novels of Elliot S! Maggin.

IGN: What’s the basic premise of your story?

Parker: A man who is really not ready for it has had great power thrust upon him, and he's self-destructing- taking everybody with him. Superman is trying desperately to keep everyone around this living catastrophe alive. It's keeping with Superman's sci-fi roots and showcases the guy you'd love to have for a pal.

IGN: You’re working with Chris Samnee – for my money, one of the best in comics today – what did he bring to your story and the character?

Parker: A while back in a completely unrelated context I shot my mouth off about how I would handle writing Superman, with the caveat "but I'd need Chris Samnee working with me." And then for this it worked out, which is just magical to me.

Chris just flat-out gets a character like Superman, he knows how to make him powerful and iconic and extremely human all at once. It goes beyond even his drawing ability- Chris I think now qualifies as one of the greats in the greater sense of Raymond, Caniff, Toth, that level- but that he really understands what we all relate to in Superman.

We didn't have Lois Lane in our story, but she's another character he can bring across completely in one drawing. For a while Chris and I lived in the same neighborhood and we would just rattle on about how we'd approach Superman and Lois and everything, so this was a real treat to be able to make some of that happen.

IGN: Would you be interested in handling the Man of Steel in a longer format, or perhaps doing another Adventures of Superman?

Parker: Nope, I'm done.

Are you kidding? I'd love to tell a long Superstory. I'd also like to work more with DC digital, I got to do a Batman story with Gabriel Hardman I was very happy with and now this. They're creating quality stories in a venue where the larger world can find it.

IGN: We talked about Batman ’66 recently, another book you’ve got going with DC. Is there more stuff in the pipeline for you with them?

Parker: At the moment I'm focusing on Batman '66, which is exactly as much ridiculous fun as you might imagine. But yes, there may be more still!

Check out the full preview for the issue below:

Joey is a Senior Editor at IGN and a comic book creator. Follow Joey on Twitter @JoeyEsposito, or find him on IGN at Joey-IGN. After Man of Steel comes out, his life will lose all sense of direction and purpose.

Watch The Final Trailer for Fast and Furious 6

Universal has released the final trailer for Fast & Furious 6. Check it out in all its high-octane glory below:

Fast & Furious 6 opens May 24.

Sunday, April 28, 2013

C2E2: Patton Oswalt on New Star Wars Trilogy

Comedian Patton Oswalt has been very vocal in comedy routines about the mistakes made in the Star Wars prequels. Over the weekend, at his C2E2 Q&A, Oswalt shed light on how he feels about the next trilogy of films. He said: "I'm skeptical, but I'm hopeful, and here's why: when Lucas did Star Wars, he absolutely hit the jackpot. He doubled down and a six and a five, they dealt him a 10, and then he said, he wisely said, 'Hey, I'm going to walk away from the table. They're comping my room, they're comping my dinner, I'm good. I'll just get some proposition player here to keep my streak going. And he just got gunslinger, unflappable writers and directors to come in and just deepen the saga. So, now that's happening again.

"In between doing that, in the Seventies and Eighties, and the prequels era, much like Marlon Brando in Apocalypse Now, he went off to the jungles of Marin County and went crazy and just said, 'I'll just conceive all this myself, and anything I write on my legal pad will become gospel, and so it was First Draft Theater for 200 million dollars!

"As much crap as I give George Lucas, we're still arguing about [Star Wars]. People don’t argue about the Bible as much as we argue about 'Why would you introduce Midi-chlorians?' It's like he went to the dark side for a bit and now he got the Yoda wisdom where he said, 'I'm just going to give this up to someone else and let them do it.' It's like now he's doing the same thing he did between Star Wars and Empire; handing it off to other people, so that makes me very optimistic. I have so little left in my life! I'm clinging on to anything!"

He continued, "I was having lunch with Brad Bird and we were talking about Star Wars, and he's… a very positive revisionist. We were talking about Star Wars and Empire and Jedi, and I said, 'I kinda like Jedi, I just thought it got a little crazy with the Ewoks.'

"And he goes, 'Jedi would have been so perfect if it had opened on a shot in the swamp, and it's Luke sitting with Yoda, and he said, 'Hey you told me not to leave,' and I said, 'He screw you, my friends are in trouble, I'm going to go help 'em. I went, and because I went, my friends are in deeper trouble, and I got my hand cut off, and I got my ass kicked. I absolutely, globally, unilaterally failed,' and then Yoda would've gone, 'Now you're a Jedi, now you get it. You've gotten past your fear of failure.' Then, when Luke goes into Jabba's palace, you're like, 'Wow, now this dude is like this scary, zen warrior'… so little touches like that, I'm hoping that JJ and his writers will bring to this.

For more about the show, visit IGN's C2E2 page.

Chris Carle is the Entertainment Editorial Director of IGN. He prefers a good blaster in his hand to all this sneaking around. Follow Chris on Twitter @chriscarle and IGN.

C2E2: Parks and Rec Star Wars Rant Explained

Recently, renowned geek, stand-up comedian and actor Patton Oswalt waxed nerdic in a lengthy filibuster scene on NBS's Parks and Rec. His rant discussed a mixed Star Wars/Avengers universe, during 8 minutes of heightened improv that covered a lot of nerdy territory. At his C2E2 panel, he explained how the scene came about: "If you listen, Amy Poehler Is mic'd and so is Jon Glaser. They told me that they just needed me to talk for a minute in the background while Amy Poehler and John Glaser had this quick discussion.  What I didn't know is that Amy and Aziz and the writers went, 'Don't yell cut and let's see how long he'll talk.

"I'm a huge fan of Parks and Rec and I was very excited to get booked, so I was very much like, 'I really want to do a good job so badly,' and I think they sort of sensed that and went, 'Let's see what he does!' So that's what I did. I just kept going, and in my mind I was… going to use The Fountain as a way to pull in Patrick McGoohan from The Prisoner somehow, but my mouth literally dried up.

"Nothing shows me how realistic what I did was until I read the comments online, where [in mocking voice], 'Oh, so Hawkeye and Black Widow are second tier, and yet, you bring up Moon Knight, which I find very interesting… ' My character is such a douche, basically. I was doing every argument that I'd seen online and I just got the same arguments back."

For more on the show, check out IGN's C2E2 page.

Chris Carle is the Entertainment Editorial Director of IGN. He often talks at length about Star Wars, and there's nothing nerdy about it. NOTHING. Follow Chris on Twitter @chriscarle and IGN.

Playing with Death: The Appeal of Horror Games

Do you remember your first time? The first game to make you take a worried glance at the shadows playing on the wall? To send a chill down your spine? I’m not talking about a fright, here, but a full-blown attack of the wiggins. Doom, maybe? Resident Evil? More recently, Dead Space or Slender? And as the goose bumps spread, did you duck behind the couch? Throw the cat at your console? Or did you play on, tight-chested, eyes stinging because you were too nervous to blink?

You only have to take into account Stephen King’s bank balance, or the fact that Freddy, Jason, and Chucky are household names to know that people like to play with fear. When the chance of coming out intact is high enough, we’ll leap from planes, swim with sharks, jump motorbikes between casino rooves, and sit transfixed in a theatre, eating popcorn on autopilot. In fact, the capacity of cinema to induce chills was experimented with as early as the late Nineteenth Century. The vampire classic Nosferatu predates Fitzgerald's The Great Gatsby. Most sane people won’t permit themselves to be captured by terrorists or play Russian Roulette, but when it’s highly likely that frightening events can’t harm us, we’ll get in line. But why? Fear isn’t pleasant. So how can it be enjoyed?

Count Orlok in happier times.

Research has shown that there are two fundamental differences between people who seek out fearful experiences and those who avoid them. One, the fear-seekers enjoy intense emotions. In psychological parlance, they are high in N.F.A., or need for affect (emotion), whereas the fear avoiders may or may not be. Two, and the real thing which distinguishes them, is that they’re accepting of negative emotions—in other words, they feel that experiencing fear is normal, and therefore nothing to worry about. Fear-avoiders, even high N.F.A. ones, feel that experiencing negative emotions is an abnormal part of life, akin to disease and financial ruin, and therefore avoid contact with them whenever possible.

If fear satisfies people seeking gripping emotional experiences, then, what creates this intensity?

To answer this, we should start with the ultimate fear—that of death. As opposed to the anguish felt by people considering being absent for loved ones, or missing out on things, we possess a primal fear of ceasing to be which doesn’t necessarily involve dying. Horror and science-fiction offer myriad examples of the erasing of subjectivity (of the self) without death, from the bite of a werewolf to being assimilated by The Borg, enabling this primal fear to be explored in an unlimited number of creative ways.

Gets bitten by werewolf, creates clothing label. Smart.

Video games lend themselves to creating scary experiences, given the tendency of players to identify with their characters, projecting our subjectivity inside them and therefore their world. However, while the vast majority of games involve death in some form, and may be tense or exhilarating, they aren’t particularly scary. Being shot to death in an FPS, for instance, isn’t really frightening. On the other hand, being gnawed on by a zombie - even though such a thing doesn’t even exist - is. (Play World at War, and then the Zombie mode to experience the contrast). So, what’s the difference between an enemy soldier and a zombie?

Freud explained the difference by his concept of the uncanny - in his native German, the unheimlich, which translates to the “unhomely.” By his definition, something can only be unhomely if it reminds us first of the “homely” - familiar things that we enjoy or need - while at the same time possessing some sort of crucial difference. Like the dolls and androids which are said to occupy the “uncanny valley,” a zombie is uncanny because it reminds us of a person (it looks, moves, and eats like a person), but is clearly not a person because it’s only the shell, absent of a self; a corpse. The uncanny induces feelings of fear or disquiet because it makes us question the stability of our own subjectivity—that is, our own selves; their durability, and their differences from others; whether we are human, or a thing, like Slenderman or Pyramid Head.

Few characters in survival horror are as iconic as Pyramid Head.

We know intuitively that death involves the loss of subjectivity, annihilation of the self, and that other states such as madness (a loss of the boundary between self and other) involve a similar loss. A French euphemism for orgasm is la petit mort—the little death—reflecting the erosion of the boundary between self and other that occurs at this point; the basis for an emotional intensity that is actually caused by fear. As the other side of the coin to knowing that we’re living individuals is knowing that we can go mad or die (lose our subjectivity), being put in touch with this knowledge is always an intense experience, whether it be safe and pleasurable or otherwise.

Closely related to Freud’s uncanny is Julia Kristeva’s conception of the abject. Whereas the uncanny is a perverse or impoverished version of the familiar, the abject is something we find to be the opposite of the familiar; that we completely disavow, and won’t tolerate even to the slightest degree because there is nothing even remotely “homely” about it. In this way, the abject could be thought of as an extreme subcategory of the uncanny. While coming into contact with the uncanny can induce discomfort, coming into contact with the abject induces horror. As Kristeva puts it, the abject is comprised of things that “show me what I permanently thrust aside in order to live.” Blood, excrement, dismembered body parts, signs of disease, all belong to the abject, and thus comprise the mise en scènes (elements that make up the setting) of the horror game.

Playing such a game, therefore, essentially involves the defence of subjectivity against the uncanny and abject. The degree of fear and horror experienced is directly related to the difficulty of this defence. The survival horror genre, which reached peak popularity around the turn of the century, was based upon putting the player in touch with human frailty. Making use of the familiar techniques of horror films, such as limited visibility, the sounds of concealed adversaries, an eerie score, a character’s isolation, involvement of the alien or supernatural, and the sympathetic character’s relative powerlessness, fostered uncertainty about whether one might be able to get through the experience with body and soul intact.

A more recent trend in the horror genre, however, has been to make the separation of the player-character from the abject impossible. BioShock, for instance, almost immediately sees its protagonist begin the process of becoming one of the artificially augmented and insane Übermenschen he must defeat in combat—a process which reaches a gory conclusion ensuring that while Jack may live, it certainly won’t be to tell the tale. Similarly, it’s suggested to the player that F.E.A.R.’s Point Man, with his superhuman reflexes and hallucinations related to the supernatural phenomena which comprise the game’s action, is more than an anonymous soldier, but in fact an uncanny phenomenon himself.

The purpose of the protagonist who has been sullied by the horror surrounding him is to put a finer point on the defence of subjectivity. The fight is no longer cast in terms of human vs. inhuman, but rather self vs. other; an attempt to raise the stakes by more intimately connecting the player to the game’s events, a trend which has emerged in tandem with so-called “moral choices”; harvesting Little Sisters, for instance, versus rescuing them; defusing the atomic bomb in the centre of Megaton, or blowing the place sky high. The appeal of such “negative” moral choices is that one can reduce the tension felt by the need to defend the psyche by letting oneself become, to some degree, “the other.” If you can’t beat ‘em, join ‘em. Another dimension to playing with fear.

Essentially, however, the appeal of the horror game is that the horror can be overcome. While certain films have concluded with the main protagonist being stuck in diabolical circumstances (Event Horizon, for instance, or The Dark), games always permit at least a temporary respite—if only until the sequel.

Gamers who enjoy horror games, therefore, wish not only for intense emotional experiences, but ones caused by the need to actively defend their subjectivity from threats, enjoying the primal feelings of risk and reward that go along with them. The central appeal of horror games is the prospect of being active in the defence of one’s self—something that is assured by the very nature of a video game (a skill-based puzzle that has been made to be survived; completed), and therefore gaining fantastical control over death itself. It’s only natural that if death is our ultimate fear, mastering it is our ultimate fantasy.

Daniel Clark is an Australian freelance gaming journalist and writer. Why not follow him on IGN and join the IGN Australia Facebook community?