Working Casual’s E3 2019 Best in Show Awards: Top 10 Smaller Games

The prior entry in my E3 2019 Best in Show Awards covered what I called the “bigger” titles featured at this year’s event.

Now, let’s highlight “smaller” ones. As in, those made by smaller teams, built with lower budgets or created by independent studios that don’t fit into the traditional AAA mold. Some of the best stuff might not be featured at the major press briefings. It certainly will be here!

Quick note that my final post is now up, and it’s all about the best moments.

In no particular order, other than alphabetical of course, let’s work through my Top 10 “Smaller” Games of E3 2019.

12 Minutes

Developer: Luis Antonio

Publisher: Annapurna Interactive

Release Date: 2020

I’m always blown away when a game is made predominantly by a single person. The top-down interactive narrative 12 Minutes is such a title, on which creator Luis Antonio has been laboring for years. Its intense trailer starts innocuously enough with two lovers eating dinner. The woman is set to reveal she’s pregnant, when the man says he knows already. It descends into a series of quick cuts that reveal our characters are stuck within a repeating period of time, where the woman’s father is dead and someone is out to get them. Apparently it’s played in 12 minutes increments, hence the name, and it’s totally my type of mystery.

Creature in the Well

Developer: Flight School Studio

Publisher: Flight School Studio

Release Date: Summer 2019

As a known proponent of pinball in video games, Creature in the Well is an easy pick for one of my awards. Made by mostly a duo of two folks from Flight School Studio, which is a broader team of 30 across Texas and Canada, it’s a dungeon-diving, top-down action game where puzzles are achieved using pinball mechanics. Its striking art style plus clever gameplay elements add to its appeal. And the best news is that it’s set for a release sooner than later!

Fall Guys

Developer: Mediatonic Games

Publisher: Devolver Digital

Release Date: 2020

If I had an award for the best trailer of E3, no doubt Fall Guys would be a contender. The colorful, goofy “ultimate knockout” multiplayer title is basically a bizarre gameshow set in a 3D cartoon space. Contestants have to navigate obstacles then fight through the crowd in hopes of being crowned king of the arena. Word is that Mediatonic plans to treat it as a kind of indie live service game, adding events over time. A truly unique take on the somewhat stagnant battle royale genre.

Hollow Knight: Silksong

Developer: Team Cherry

Publisher: Team Cherry

Release Date: TBA

Challenging 2D action game Hollow Knight was a sleeper hit for me last year on Nintendo Switch, though technically out in 2017 on PC. Silksong began as an expansion for the original, and has increased in scope to become a full-blown sequel. The player will control the agile Hornet navigating across a new bug-filled kingdom, facing off against at least 150 brand new enemies and a variety of Team Cherry’s notoriously tricky boss fights. Can’t wait to jump back into the world with its subtlety beautiful art and haunting musical score.

John Wick Hex

Developer: Bithell Games

Publisher: Good Shepard Entertainment & Lionsgate Games

Release Date: TBA

Here’s how good this game looks: I’m not even a fan of the John Wick movies, I’m a novice tactics gamer and I don’t love isometric perspectives. But whew this looks so innovative in the context of what I’d expect from a John Wick game that I had to award it, if not just for its level of creativity. The coolest part is that once the player reaches the end of a level, they can rewind and see how it would look in real-time. Effectively replicating the frantic combat choreography of the film franchise.

Journey to the Savage Planet

Developer: Typhoon Studios

Publisher: 505 Games

Release Date: Early 2020

It’s so difficult for a game to be genuinely funny, as often times they walk a line between flat and cringey. Journey to the Savage Planet is neither of those things, in what looks like a hilarious first-person action-adventure set in a distant world. The player is there to catalog species and see if humans could inhabit the planet. Its creature design stands out immediately. Little round spheres with bulging eyeballs, giant dinosaur looking beasts then long-necked birds that split apart into more squawking birds when damaged. Definitely way into its tone and overall aesthetic.

Ori and the Will of the Wisps

Developer: Moon Studios

Publisher: Xbox Game Studios

Release Date: February 11, 2020

Set to release five years after Ori and the Blind Forest amazed many with its incredible art, masterful music and imaginative gameplay, this sequel is looking just as good and even larger in scope. Its familiar art direction and precision platforming stand out in its latest trailer, as we see examples of how the cute Ori’s suite of abilities improve this time around, though I’m also intrigued to learn about how its story expands on the events of the first. Plus, how about Moon Studios’ design of those massive enemies!

Psychonauts 2

Developer: Double Fine Productions

Publisher: Xbox Game Studios

Release Date: 2020

My next award goes to Double Fine’s long-awaited sequel to cult classic Psychonauts, as the studio revealed its first gameplay trailer. This tease shows off how the quirky 3rd person adventure looks in action, plus its crazy characters and setup that everything exists within someone’s mind. Microsoft announced its acquisition of Double Fine during the former’s press briefing, though folks that don’t own an Xbox shouldn’t fret. It’s still coming to all of the platforms announced during its Fig crowdfunding campaign, including PlayStation 4.

Spiritfarer

Developer: Thunder Lotus Games

Publisher: Thunder Lotus Games

Release Date: 2020

I bet it’s the art style that instantly catches one’s eye when seeing images of this beautiful 2D adventure project. Though what really inspired this award is its premise. Beneath that beautiful design is a game about being a “ferrymaster to the dead,” the titular Spiritfarer, and exploring a game world while chatting with recently deceased spirits before guiding them to the void beyond. It’s meant to be a more upbeat portrayal of mortality, which is super unique within the medium. Not to mention you have a friendly kitty sidekick named Daffodil. (I’m more a dog person, but I ain’t complaining.)

The Sinking City

Developer: Frogwares

Publisher: Bigben Interactive

Release Date: June 27, 2019

There’s plenty of fiction drawn from the work of H.P. Lovecraft, especially when it comes to art direction or enemy design. Frogwares’ latest applies it to a 3rd-person investigative mystery with exploration and light combat elements. Set amidst a whole lot of weird folks living in a New England town being consumed by water and madness, its gameplay looks familiar enough. Searching for clues to solve crimes and even murders. The real intriguing part is the eerie plot and cosmic horror often seen in Lovecraftian settings. Not to mention I’ll be dusting off my investigative skills very soon when it’s out in mere weeks.

Honorable Mention:

Afterparty

Developer: Night School Studio

Publisher: Night School Studio

Release Date: 2019

Main reason for a mention here rather than an actual award is that Night School was present at E3 in a panel, though we didn’t actually see much more from the game in which a pair of friends has to outdrink the devil in order to win their way out of hell. Yes, that’s actually what it is. I really liked the studio’s 2016 title Oxenfree, and this latest project has many of the same trappings including dialogue pop-ups that the player picks. Was really hoping to hear a release date since it’s supposed to be out quite soon.

That concludes this round of awards. The third and final piece will be on the Top 3 Best Moments of E3 2019. Thanks much if you made it this far!

Sources: Companies included here, Entertainment Software Association, GamesPress, CNET.

-Dom

Working Casual’s E3 2019 Best in Show Awards: Top 10 Bigger Games

While I wasn’t one of the 66,100 folks in attendance at this year’s Electronics Entertainment Expo gaming convention last week, I was able to follow along with all the E3 festivities because it’s 2019 and the internet exists. (For better or worse. The whole internet part.)

General hype was subdued after companies like Sony and Activision Blizzard said they wouldn’t be at this year’s showcase, though I won’t let that sentiment impact my enjoyment. So many talented teams are out there showing a number of seemingly awesome games, how could I possibly not be excited?

We heard of some projects ahead of time, due to teases or rumors. Though there were plenty of others that not even the internet leakers could ruin. For real, a new Zelda?!

Now that the company press conferences are over, the show floor is closed and everyone is recovering, I’ve mapped out three posts to celebrate the biggest gaming event of the year. This is the first one. The other two are here and here.

First up is the Top 10 “Bigger” Games of E3 2019! (In alphabetical order. Because rankings are hard.)

Cyberpunk 2077

Developer: CD Projekt Red

Publisher: CD Projekt Red

Release Date: April 16, 2020

Keanu Reeves became the talk of the show with his appearance at the Microsoft press briefing, revealing he’s playing a character named Johnny Silverhand within Cyberpunk’s futuristic open world. The game itself received widespread praise from media, privy to a stunning, lengthy behind-closed-doors demo, namely for its blend of narrative excellence combined with player choice in approaching situations within its dense and dangerous Night City setting. CD Projekt Red is taking home a ton of awards to its homeland of Poland, including one of my coveted Top 10 spots here!

Destiny 2: Shadowkeep

Developer: Bungie

Publisher: Bungie (Finally free!)

Release Date: September 17, 2019

It wouldn’t truly be a post from me if I didn’t at least mention my beloved Destiny 2, especially now that Bungie is fully independent from Activision Blizzard. Not only does the Shadowkeep expansion center on a host of new nightmarish enemies inhabiting the Moon, one of the best locations from 2014’s original, the studio is implementing tons of smart changes in its space shooter in September. These include the introduction of cross-save across multiple platforms, a release on the Google Stadia streaming service and a base game rebrand to a free-to-play offering called Destiny 2: New Light. Eyes up, Guardians!

DOOM Eternal

Developer: id Software

Publisher: Bethesda Softworks

Release Date: November 22, 2019

The next installment in the groundbreaking DOOM franchise ripped and teared its way to being the highlight of Bethesda’s showcase, featuring both a story teaser trailer and a sizeable gameplay demo showing off its classic frenzied combat alongside new movement capabilities plus a myriad of added enemy types. Between this and hearing from E3 attendees how amazing it felt, late autumn 2019 is the one time when I’ll welcome someone telling me to “go to Hell.”

Dying Light 2

Developer: Techland

Publisher: Techland Publishing & Square Enix

Release Date: Spring 2020

Among all the sequels featured at E3, the follow-up to 2015’s surprise gem Dying Light is the one for which I’m most excited. Especially after seeing more from the open world action title, where choices now have drastic impact on the world plus the main character Aiden Caldwell has expanded parkour abilities compared to his predecessor Kyle Crane. I’ve heard overwhelmingly positive reactions from those that witnessed it during the show, further solidifying its spot on my Top 10 award list.

Elden Ring

Developer: From Software

Publisher: Bandai Namco Entertainment

Release Date: TBA

Despite its title and dark fantasy action role-playing premise leaking before E3 began, the reveal of Elden Ring was still a major highlight of Microsoft’s briefing. There’s still so much we don’t know about it, other than it being a collaboration between Hidetaka Miyazaki’s From Software team and A Song of Ice and Fire creator George R.R. Martin. Which, honestly, is enough in itself to land it among my favorite big games from last week.

Final Fantasy VII Remake

Developer: Square Enix

Publisher: Square Enix

Release Date: March 3, 2020

The remake to 1997’s Japanese role-playing epic Final Fantasy VII has been in development for so long that cracking jokes about it became old a while ago. Its tardiness can almost be forgiven now that Square Enix has solidified a March 2020 release date. We saw more from the project’s modernized aesthetic, awesome character models and revamped action-style battle system that maintains elements from the original’s turn-based approach. Want to know how good it looks? I have zero nostalgia for the franchise, and it’s vaulted to being one of my most-anticipated of next year after this showing.

Ghostwire: Tokyo

Developer: Tango Gameworks

Publisher: Bethesda Softworks

Release Date: TBA

I’m not sure which was better: Creative Director Ikumi Nakamura talking about this “spooky” cinematic adventure, helmed by masterful producer Shinji Mikami, or the lonesome trailer that teased just enough for me to be totally intrigued. It’s a brand new game, a rare sight lately, where folks from Japan’s largest city are disappearing and the player will need to navigate paranormal events while interacting with ghosts that could be friend or foe. This was probably the best surprise reveal of the entire week.

Halo Infinite

Developer: 343 Industries

Publisher: Xbox Game Studios

Release Date: Late 2020

Halo is Microsoft’s flagship, which means that the team had to nail its more formal reveal after last year’s vague teaser. And it delivered. The trailer hits in the feels harder than a rocket launcher on Blood Gulch, following a stranded pilot viewing a hologram of his family then stumbling across a suspended-in-space Master Chief. While only cinematic, there are hidden details suggesting where and when this new game takes place (Zeta Halo a couple years after Halo 5 Guardians), plus we learned it’s a launch title for Xbox’s next generation hardware. “We need to fight,” says the Chief. I’m so ready.

The Legend of Zelda: Breath of the Wild Sequel

Developer: Nintendo

Publisher: Nintendo

Release Date: TBA

Sure, it’s cheating to give it an award. Yes, we don’t know its name. Indeed, its trailer was short. No doubt, it has no release window. All of that can’t stop the sequel to my 2nd favorite game of 2017 and an amazing entry in the storied franchise instantly making this list on hype alone. Zelda aficionados have dissected its teaser, speculating that it’s a darker iteration using the same art style of modern masterpiece Breath of the Wild. A la Majora’s Mask to Ocarina of Time. Plus, there’s the renewed speculation that Zelda herself may finally be a playable character based on her prominence in this teaser. Who knows when we’ll hear more. I’m just super pumped it actually exists.

Watch Dogs Legion

Developer: Ubisoft Toronto

Publisher: Ubisoft

Release Date: March 6, 2020

There’s no doubt in my mind that Ubisoft introduced what might be the most ambitious title in the history of gaming with this third Watch Dogs installment. Set in London after Brexit, rather than a singular main character like the first couple of third-person open world hackathons, the player now recruits any civilian to be part of a crew trying to overthrow a regime. Yes, this includes an older woman that used to be an assassin and really knows her way around a spider drone, as shown quite hilariously in its extended gameplay demo. I don’t know how Ubi will pull it off, though I’m confident it will be truly epic if it does.

Honorable Mention:

Deathloop

Developer: Arkane Lyon

Publisher: Bethesda Softworks

Release Date: TBA

Apparently Bethesda had a pretty good showing, receiving two awards on my coveted list in addition to an honorable mention. I’m not quite sure what the actual end result will be, or if it will be single-player or multi-player, however the premise of Deathloop immediately caught my attention. Two skilled assassins stranded on an island while stuck in a seemingly endless loop of hunting down one another. If.. executed properly, Arkane Lyon’s new IP could be one of the more unique hits this generation.

Very much appreciate you swinging by! Up next will be the Top 10 Best “Smaller” Games of E3!

Sources: Companies included here, Entertainment Software Association, GamesPress, CNET.

-Dom

Stylish & Unabashed, Rage 2 is the John Wick of Video Games in 2019

Within hours of playing through Bethesda Softworks’ new open world action shooter, I found inspiration.

Rage 2 isn’t Mad Max: Fury Road, as many would have us believe. It’s the John Wick of 2019 video games.

As does John Wick, the game knows exactly what it is. It’s pure action, style as substance and unapologetically intense. And certainly not ashamed of it. It even basks in its absurdity. Bursts of action coalesce perfectly as the player combines weapons, throwables and abilities, leading to the familiar choreographed feel of watching Keanu Reeves effortlessly come up with tactics on the spot to carve up his myriad of foes.

As I progressed, the comparison solidified. Both begin with a tragedy. In the case of the game released this past week, a collaboration between storied developer id Software (Doom, Quake) and Avalanche Studios (Just Cause, Mad Max), this is a decimation of the protagonist’s stronghold called Vineland and the death of its matriarch at the hands of the cruel General Martin Cross.

What follows is, similarly, a straightforward revenge tale against the villain and his followers, collectively dubbed The Authority. Controllable character Walker dons the armor of the elite Ranger class of soldier, leveraging technology based on “Nanotrites” (yay science!) to power special abilities including a seismic ground pound and quick dash.

Bursts of action coalesce perfectly as the player combines weapons, throwables and abilities, leading to the familiar choreographed feel of watching Keanu Reeves effortlessly come up with tactics on the spot to carve up his myriad of foes.

(I’ll admit momentarily that I don’t have much more than minimal experience with 2011’s Rage, so I’d argue it’s not a requirement. Though there are obviously callbacks and it can enhance the experience.)

Walker, with the help of best bud and mechanic Lily, is tasked with finding three individuals: a grizzled resistance leader named Marshall, Mayor Hagar who runs the game’s major settlement plus ex-Authority scientist Kvasir secluded in the swamp lands. These folks are integral to a project designed to halt General Cross, a maniacal jerk that’s been cloning himself in hopes of “living forever.” Upgrade progression centers around three skill trees, each based on character specialties. For instance, investing experience points into the resistance leader will enhance combat while the scientist will help with gadgets.

Now, I’m a firm believer that a game’s mechanics are of utmost importance. “Game feel,” as I say. If a shooter especially doesn’t feel right, if there isn’t enough feedback when shooting or indicators that the player is getting damaged, it can’t ever elevate above average. Luckily, Rage 2 is centered around its amazing gameplay, rivaling predecessors Doom and Quake which are both on the same game engine.

It feels like an open world Titanfall 2, with cooler combat abilities (minus the Titans, of course). Most of its weapons are distinct, from a standard assault rifle to a unique gravity gun that attaches to foes before swinging them where one’s heart desires. Each one is fully customizable with individual upgrade paths. Plus there are two different “modes” for each, hip-fire and aiming down sights, adding to the tactical possibilities. The standout here is the shotgun, a staple of these kinds of action titles. The punch of this particular shotty is near unrivaled in the history of shooters.

In terms of layout and pacing, this is where the map opens up; Giving freedom to progress any which way, to whittle away the defenses of each enemy faction: Authority, Goons, River Hogs, Mutants and the ominous “Shrouded.” A variety of vehicles, including a fantastic gyro-copter, allow for traversal across the wasteland. There’s noticeable downtime when driving, since hostile convoys are rare, however there’s normally a spot in proximity that catches the eye, enticing a visit. It’s almost like a The Legend of Zelda: Breath of the Wild formula, built on distractions that emerge as bespoke endeavors.

We gradually learn about how the game doles out points of interest. Exploring an area yields a question mark on the map and heads-up display, which could be any number of activities: bandit camp, towering turret, roadblock, power plant, fueling station, crashed meteor, resting place of a fallen comrade or the treasured “Arks” that house new weapons and sweet abilities.

While gameplay is essential, I also believe the player needs to be rewarded for their effort. What’s the point of all this spectacle? Rage 2 showers the player with experience points, materials, upgrade points and currency, which means that side activities and poking around the world are absolutely worthwhile. As I’ve said in the past, open world games are inherently repetitive. It’s how a game conceals its repetition that truly matters. Not to mention, opening a crate by punching it never gets old!

One aspect I’ve heard critiqued is its story structure. There aren’t many main missions, granted.

I pose a thought: Why is this necessarily be a bad thing? This actually gives flexibility for different player types. It’s setup in a way that it could be a tight, 8 to 10 hour experience if someone wants only to see the campaign. The alternative is to spend dozens of hours perusing the wasteland and racking up every ability and weapon, finding secrets along the way. In the world of Rage 2, high tech “Arks” are large vessels with goodies inside normally guarded by enemies. I found it tantalizing to seek these out, and felt an adrenaline rush whenever Walker spots a new one.

Even though it’s a plus that the game can be “mainlined,” it’s no doubt a generic action story that left me wishing it had more missions. It’s almost as if the team knew the fun would be in the open world rather than in its narrative, which isn’t necessarily a deal-breaker but more of a mild disappointment.

I’ll point out that the story missions themselves are quite fun, especially for the scientist Kvasir, one of which has the player breaking into a space center to bring a satellite down from orbit. Its scope is particularly notable in a game that’s usually grounded.

Tonally, I noticed early on a disconnect between how the marketing campaign portrayed it versus what it actually is. Absolutely for the better. I was vocally skeptical about its tone being too cringey, with dancing enemies and “wacky” characters amidst bright pink and yellow color splashes. It’s actually more humorous and even can be charming. Item descriptions are creative, as are the names of non-playable characters (NPCs) at outposts. Combine this with a talking vehicle, voiced by Wonder Woman herself Lynda Carter, and the unique personas of the three main helpers, this tonal imprint is more subtle than the advertising proclaimed.

Yes, there’s an enemy type that uses a baseball bat to hit grenades towards Walker. Which means, of course, that Walker can volley them back by pressing the melee button. When throwing a “Vortex” gravity bomb at enemies, they will bobble the sphere in an attempt to catch it before it sucks them up and launches them into the air. These small touches help to shape the game’s tone just as much as its frantic action does.

From a tech standpoint, it’s a mostly smooth experience on Xbox One X. Super crisp frame rate, even amidst the most frenetic of sequences, without noticeable hitching. Unfortunately there were a few hard crashes in the first third of my 30-hour play through, though luckily none after its latest patch. Really the only sticking point was how slow the menus are, which is ironic since everything else in the game is fast-paced.

When throwing a “Vortex” gravity bomb at enemies, they will bobble the sphere in an attempt to catch it before it sucks them up and launches them into the air. These small touches help to shape the game’s tone just as much as its frantic action does.

I will note its desolate setting means that the world doesn’t feel as “lived-in” as other titles, even those within the genre. The wasteland is technically true to form in this regard, though I’ll reiterate that the spacing between areas is smartly designed in that activities are never too far away.

While I had a blast, it’s certainly not perfect. Driving around is fine, though vehicular combat leaves much to be desired. In fact, I had more fun flying in the mini gyro-copter than any combat encounter on the open road. Additionally, there’s only one upgradeable vehicle. I was hoping for more flexibility here.

There’s also a type of horde mode called Mutant Bash TV, which adds to the world-building however I found it to be underwhelming. Racing, on the other hand, is way more fun even if a temporary distraction. Occasionally, one of the NPC from the game’s racetrack will flag Walker down on the road, trying to coax into an impromptu race.

Ultimately, I went into Rage 2 with minimal expectations, if not expecting to be turned off by its tone and determination to be “cool.” I’m happy to say with certainty that I was wrong about it.

It’s a special thing when a game subverts expectations to leave a more lasting impression than ever thought possible. This is my experience with Bethesda’s latest, a wild ride with quick combat sequences and more subtle world-building than appears at first glance. If John Wick is the movie equivalent of a video game, then Rage 2 is its often thrilling and always unabashed gaming counterpart.

Sources: Bethesda Softworks, Internet Game Database, Rage Wiki, Screenshots captured on Xbox One X (Except Artwork & Enemy Close-Up).

-Dom

Slow, Curious & Tragic, Life is Strange 2 Stands Out on its Own

Impressions are based on the three episodes available for Life is Strange 2 out of its scheduled five. Mild spoilers ahead.

As far as adventures in video games go, Life is Strange 2 is powerful and thoughtful enough to be celebrated on its own. Separate of its predecessor. It’s deliberate, mysterious and often emotional, forcing the player to make critical choices that drive the narrative and have unexpected consequences. Being the one that chooses how the protagonist acts, and what happens to characters as a result, makes it that much more impactful than a traditional linear story.

Even though it’s labeled as if it’s a sequel, the adventure game from Dontnod Entertainment that’s published by Square Enix is not a follow-up in the usual sense. It doesn’t feature characters from 2015’s Life is Strange, which centered on the story of time-manipulating teenager Max Caulfield and her best friend Chloe, and instead shifts its focus to a Mexican-American family of three living in Seattle.

Life is Strange 2 is episodic, while played from a third person perspective. It began in September with Episode 1: Roads then continued with January’s Episode 2: Rules through Episode 3: Wastelands, which released days ago. What separates it from other narrative-focused titles is choice, then repercussion. Decisions don’t just have ramifications, they drive the story forward and force us down one of a various branching paths.

Across these episodes, the game delves into the relationship between Sean and Daniel Diaz, regular brothers from the Northwest that can’t seem to avoid terrible events. The Diaz brothers’ single father Esteban is slain by a police officer after he tries to defend his sons during an altercation, after which younger bro Daniel mysteriously causes a destructive shock-wave that accidentally kills said police officer. It’s an intense, saddening sequence, something that unfortunately turns into a theme for the siblings.

Whether it’s pure panic or fear of being persecuted, the boys flee from the scene then opt to venture to their father’s homeland of Mexico. It’s a rash decision, though somewhat understandable from a teenager and 9-year old. The elder Sean turns into Daniel’s paternal influence, while trying to repair their friendship that became fractured as Sean matriculated through high school.

What follows is both a literal and figurative journey for the pair, plus the player itself. We control Sean, as the two bond and bicker while coping with the desperate feeling of loss. Simultaneously, they work to understand Daniel’s special powers, which seem to be a kind of telekinesis as he can manipulate objects with his mind. Daniel is also curious of his mother, Karen, who Sean resents because she left the family before the game’s story begins.

Pacing is slow. Methodical, even. This approach, which might be a hindrance in other cases, is the opposite here. It allows exploration through the game space. Accentuates the intimate character moments that many other titles don’t even attempt, for fear of disrupting the action. Dontnod challenges players to be mindful in their wandering, frequently rewarding with tidbits of character detail and world-building akin to something like a BioShock.

The initial episode is its most sorrowful, as the brothers move south through the wilderness. Small moments of solace, such as those where Sean patiently teaches Daniel how to skip stones or they race to gather firewood, are quickly interrupted by the ever-present feeling of despair that they can likely never return to a normal existence.

Now, not everything is handled with this level of subtlety. The game is heavy-handed in its portrayal of stereotypes, especially when the brothers encounter a “racist redneck” that kidnaps Sean while throwing slurs as much as fists. This pops up again in a couple spots. Though I understand the game’s writers wanting to convey character prejudices overtly, I found myself hoping for a more delicate approach.

After escaping the racist, the boys receive help from friendly travel blogger Brody then move further towards their intended destination. Episode 2: Rules finds them occupying a winter cabin, alongside a new puppy named Mushroom. One theme that arises here and continues throughout is Daniel’s relationship with those other than Sean, as the latter moves into an authoritative role. Their quiet existence is upended as tragedy strikes again, with Mushroom being attacked by a wildcat. Throughout these moments, the player can decide to encourage Daniel to use his powers or to avoid them at all costs. As with everything, this has its impact on one’s individual story line.

Sean decides the boys should meet their grandparents on their mother’s side, who live in a small Oregon town. This brings a familial element that was noticeably lacking, providing momentary stability. It also stokes Daniel’s curiosity about his mom, which Sean is reluctant to even mention yet alone explore.

During this time, Daniel saves and befriends Chris, the main character from Dontnod’s standalone demo The Awesome Adventures of Captain Spirit. Chris has also faced tremendous loss with the death of his mother and an abusive father, so he escapes into his fantasy of being a super hero. With Daniel at his side controlling objects floating in space, he believes he has actual powers. It’s another example of Daniel’s independent character maturation. The player can either plead with him to reveal his powers to Chris, or keep it a secret. One particular consequence of this choice is shockingly catastrophic.

This is also where we meet key characters for the next episode, while the group is shopping for Christmas trees with Chris’ father. The boys briefly chat with street musician Cassidy and her friend Finn, both of which are “train hoppers” living free from the cares of society. It’s clear that Sean is envious of their more carefree attitude, revealed during this scene that mainly acts as foreshadowing.

As usual, the brothers must bounce when the police stop swing by on a tip. This is especially painful, since their grandparent’s home seemed a fitting spot for them to settle down. Plus, Daniel openly expresses that he’s sick of running away and wants to find his mother.

Episode 3: Wastelands is in my opinion the weakest so far, as it’s the most cliche with a predictable structure. This doesn’t mean it isn’t good. In fact, because we get to know so many new faces, it has the best character moments yet. It’s just that the story arc is more typical than the prior two episodes. I will say the end is explosive, showing how much their situation is escalating the more they get involved with people out on their own.

The setup here is.. convenient. (As happens in media, to bring characters together and progress stories in parallel.) Sean and Daniel somehow meet up with Cassidy and Finn, then begin working on an illegal weed farm in Northern California to save up cash for Mexico. The campgrounds in the woods is liberating and constrictive at once. These folks are free to do what they please outside of work, but have a rigid regimen when laboring for a dangerous landowner and his goon partner.

A standout sequence of this episode is a fireside gathering, where group members exchange depressing stories. It’s uniquely powerful to hear everyone speak so openly about their lives, and reinforces a general theme that looking towards the future can help alleviate hurt caused by one’s past. Both Sean and Daniel can share memories, depending on player action.

This portion also allows choices related to sexuality. Finn presents as bisexual, while Cassidy is interested in men and flirts with Sean. The player can romance either, which is refreshing and speaks to the freedom theme. Our protagonist is at the age where he’s still exploring his sexuality, so it’s a poignant sequence that shows he’s still so young despite having the responsibility of caring for his brother.

As noted, the episode concludes with an intense sequence that I won’t spoil. Other than to say that Daniel and the player have a lot to learn about how powerful he can be.

At this conclusion, multiple mysteries are still unfolding. There’s the overall trajectory of the boys’ intention to reach Mexico juxtaposed against the allure of settling down. Is that even realistic? Can they ever return to their childhood town? The lingering questions about their mother remain, especially as the Diaz boys disagree: Daniel wishes to track her down while Sean wants nothing to do with her.

One critique is that I wish it had more details on choices and consequences after you finished a sequence, similar to the flow chart approach of Detroit: Become Human. Each episode shows a recap of decision points, though provides less detail than its peer.

Another minor point is that you can circle back in what’s called “Collectible” mode, however these don’t apply to your main save. I wish that any souvenir or backpack customization option found in this mode could be used during my main progression. It’s fun to make Sean’s backpack look unique, but I don’t want to reply entire sections just to get those I’ve missed.

Misery surrounds the Diaz brothers. However, they fight to avoid being defined by it. There’s a youthful hopefulness in their progression, especially Daniel’s innocence amidst great power, that I really would like to carry throughout the remaining installments.

Strangely enough: Despite their dreadful circumstances, I’m continually hopeful.

Sources: Dontnod Entertainment, Square Enix, Screenshots captured on Microsoft’s Xbox One X.

-Dom

Sony Reveals Record Gaming Sales But No New PlayStation Release Just Yet

If we learned anything from Sony Corp $SNE earlier today, it’s that it isn’t playing around when it comes to games.

The Japanese megacorp released its 2018 results, where it revealed solid overall stats and especially positive numbers within its Gaming & Network Services (G&NS) division. This includes PlayStation, downloads and related services i.e. PlayStation Plus.

Its PlayStation 4 console, released way back in 2013, has eclipsed 96.8 million in lifetime units shipped. It’s the 6th best-selling gaming platform ever, approaching the 101.63 million of the mighty popular Nintendo Wii. (Yes, the one that your grandparents even bought. To play virtual bowling.)

Quick rundown is that Sony’s total sales moved up slightly to $78 billion, while operating profit boosted 22% to over $8 billion. Sales for the final quarter came in above analyst forecast, while full-year outpaced Sony’s internal guidance.

Chart above focuses in on the gaming division, which generated a whopping $20.8 billion in sales and an increase of 75% in operating profit. This shows growth over time, using quarterly metrics, to put this record result in context.

A decline in hardware sales for the aging PlayStation 4 was offset by growth in software and subscription revenue, as PlayStation Plus members rose 6% to 36.4 million. You’ll see above that this is the best result for the “Network Services” part of this business unit, and that software is still as healthy as it’s ever been. Popular catalog titles like God of War and Marvel’s Spider-Man seem to be maintaining momentum, however Sony did not share updated individual stats on its major games.

On the hardware side, PS4 shipments were lower than the prior year however this was expected as we come up on next generation. The 17.8 million units came in above the firm’s estimate, and is helping to drive toward the lifetime 100 million threshold as mentioned before.

However, there’s an important flip side to the stellar numbers that causes me to have some hesitation for its short term prospects. (Despite remaining way optimistic longer term.)

While Sony tends to provide conservative forward-looking guidance, it’s especially the case this time. Even more so than expected, given how late in the console cycle its PlayStation business is plus unevenness in other units such as Xperia mobile phones. Operating income is expected to decline to $7.3 billion, on a 10% reduction in gaming profits. According to Bloomberg, this is below analyst consensus.

Even further, as reported by the Wall Street Journal, executives stated definitively that there will be no new PlayStation hardware released until at least a year from now. Effectively, it will go the entire next fiscal year without a new console. While it’s still projecting modest PlayStation 4 units, 16 million to be exact, this revelation along with weaker-than-expected financial forecasts and uncertainty with its games software lineup, is why I’m tepid on Sony’s short-term prospects.

It does have major games in the pipeline, including The Last of Us: Part II from Naughty Dog, Death Stranding from Hideo Kojima’s new studio and Ghost of Tsushima from Sucker Punch. Though we don’t know when any of these will be out. There’s even the possibility that one or more will be saved for next generation’s launch later in 2020. Combine this with no new console, it’s clear why Sony is being conservative.

Ultimately, while I applaud the absolutely stellar results, I’m somewhat hesitant shorter term. I don’t believe it can meet its gaming unit forecast without at least two of the three aforementioned titles, as the boost from the usual multi-platform games will exist regardless.

Thus, what will be the driving factor without new hardware or multiple flagship games? Which of its major titles will release in the next year? Upside is that we’ll know soon, one way or another.

Sources: Sony Investor Relations. Wall Street Journal. Bloomberg.

-Dom

Nintendo Reports Best Results in Nearly a Decade Despite Missing Switch Target

Shuntaro Furukawa, Nintendo’s President.

Japanese gaming giant Nintendo shared its latest annual results today. I didn’t want to jump (like Mario, get it?) to conclusions, so I’ve read through carefully. The outcome? I’m equal parts impressed and cautious, the former due to the results themselves and the latter due to where executives see the company next year.

The good news is that the games manufacturer hasn’t experienced this sort of financial bump in years. In particular, software is performing incredibly well even compared to its estimates. It broke through the forecast of 110 million to an impressive 118.55 million copies sold during this latest year, on the strength of titles like Mario Kart 8 Deluxe and Super Smash Bros. Ultimate.

If the teams working at or with Nintendo are experts at one thing, it’s making compelling games specifically for its platforms. While Switch hardware numbers often grab headlines, it’s the quality of games that support its business. A console can’t succeed without the support of a software lineup.

Diving into some numbers for a moment, I’ve built the above chart to illustrate results over time and expand on my headline. This is net revenue, which is overall sales achieved by Nintendo. Current revenue figure is around $10.8 billion when converted to dollars, though the chart is in local currency.

Similarly the above shows operating profit, which takes into account certain expenses. Another quality result, driven by the higher revenue offsetting slightly increased sales including those from selling and marketing its products.

Downside though is that its current generation Switch console saw sales of 16.95 million units, which means it fell short of the 17 million Nintendo expected to sell during this time frame. In fact, this target was initially upwards of 20 million around this time last year. Turns out that both of these figures were optimistic.

Which leads me back to my point on software sales, and why they are so key to Nintendo’s success. Many individual offerings are maintaining impressive momentum, especially those we’d call “evergreen” which means they are more timeless than others. Mario Kart 8 Deluxe remains the best-selling title on Switch, hitting 16.69 million units compared to just above 15 million last quarter. For a game that technically had its start on Nintendo’s prior generation Wii U device, this is excellent and conveys the power of a fine family-friendly multiplayer game.

Super Mario Odyssey and Super Smash Bros. Ultimate round out the Top 3, with 14.44 million and 13.81 million copies to date respectively. While I expected stellar results from Odyssey, it’s Smash that is the real winner here, fighting its way towards the top of the list.

So. If it’s doing so well financially, and selling software, why might I be cautious?

Well, because of where Nintendo itself expects to go. It’s just as much about guidance as it is results. Guidance which I consider to be conservative, and even timid considering its upcoming prospects.


First, the firm anticipates 18 million Switch units and 125 million software units in the year ending March 2020, which would be up a modest 6% and 5% respectively. On the financial side, execs think both sales and profit will increase 4%. These are.. lackluster, though not entirely unexpected given this past year’s result and considering the new leadership of President Shuntaro Furukawa.

Given the rumors of new Switch models as early as this year, plus key software titles in Super Mario Maker 2 (announced for a late June release), Pokemon Sword & Shield and a new Animal Crossing, I was hoping for more ambitious targets from Nintendo. This is also supported by recent reports of expansion into the world’s largest gaming market of China, which to call a massive opportunity is an understatement.

Still. Maybe some of these drivers are further out that I thought. During the call associated with this earnings release, President Furukawa revealed they won’t be talking new hardware or revisions during June’s major Electronic Entertainment Expo (E3) event. We’ll have to wait further to see if the manufacturer will try to bolster sales using either a “mini” iteration or a more powerful version of the Switch. There’s also no timeline for the China expansion, so that could push further into future fiscal periods.

One additional point before we wrap up:

Nintendo’s foray into mobile continues, with the beta for the previously-announced Mario Kart Tour beginning this summer. This past year, mobile titles like Dragalia Lost drove growth of 17% within its mobile segment to just over $400 million in sales. It’s certainly a small portion of the overall business, however it’s the one segment that many cite, including myself, as having the best upside.

All told, Nintendo’s solid financial performance is undeniable. However, I see a disconnect between what I expect for its future prospects and what the company itself thinks. Similar to fans of upcoming games like Bayonetta 3 and Metroid Prime 4, which are currently listed as “To Be Announced” in Nintendo’s pipeline, I’m left both wanting and quite curious about what the future holds.

Sources: Nintendo Investor Relations. Bloomberg. Wall Street Journal. Fortune.

-Dom

Microsoft’s Annual Gaming Revenue Exceeds $11.6 Billion For The First Time

Phil Spencer, Head of Microsoft’s Xbox division.

For Microsoft $MSFT, having one’s head in the Cloud is turning out to be a smart decision.

According to the company’s fiscal 2019 3rd quarter earnings results today, it reported revenue of $30.6 billion. An increase of 14% compared to the prior year, and a figure that comes in above analyst expectations. Operating profit jumped 25% to over $10 billion. Growth is mainly attributed to the firm’s cloud offerings and productivity suite.

Going further, how did the Xbox gaming division fare? The answer is that it broke yet another record.

As you’ll see in the above chart, Xbox gaming revenue exceeded $11.6 billion for the trailing 12-month period for the first time since the company began reporting this specific metric. This breaks the record of $11.5 billion set last quarter. In fact, revenue has been steadily growing for the Xbox business during the later part of the Xbox One generation of hardware, which began in late 2013.

Quarterly gaming sales eclipsed $2.36 billion, up 5% since this time last year. Attributed to 12% increase in Xbox software and services, which offset a drop in hardware likely due to both market saturation and discounting. Microsoft notes that software and service results were boosted by “third party monetization” and “subscriptions growth.”

Edit: While profit metrics aren’t shared for gaming itself, there is a small comment giving a bit of insight:

“Gross margin percentage increased due to sales mix shifts to higher margin businesses in Gaming and Windows.”

Translation: Gaming is shifting to higher margin businesses, which benefits profitability. Unfortunately, I don’t see much else on the profit side.

Allow me to translate that last part for you:

Xbox Live monthly active users totaled 63 million compared to 59 million last year. The more people subscribe, the more they become embedded in the ecosystem and purchase content on the digital store. Each online buy provides a revenue slice for Xbox.

Then, like so many parties involved, it’s making a boatload of cash as its players spend in online battle royale games Fortnite and now Apex Legends. This phenomenon is not only keeping players around, but more importantly attracting new ones. Which is especially key as the current hardware generation ages.

So. How is Xbox achieving milestones when it’s not selling Xboxes?

It’s the renewed focus on expanding player services and reinforcing customer goodwill. Xbox has fully established its Game Pass offering, where players pay a monthly fee for access to a library of digital titles. It’s attracting major publishers to participate, grabbing games like Capcom’s Monster Hunter: World and Square Enix’s Shadow of the Tomb Raider. While we don’t have statistics on how Game Pass did this quarter, there’s no doubt it’s bolstering the service side.

Another attractive offering is backwards compatibility, where titles from prior generations work on the Xbox One family of devices. It’s certainly not a deal-breaker or a system-seller, though it’s still a distinguishing feature.

Oh. And did I mention battle royale?

Now don’t get me wrong. The hardware decline is a moderate concern. However it’s not uncommon that a downturn happens when a console is approaching its seventh year on market. And revenue growth is still happening despite lackluster hardware results. I fully anticipate middling hardware sales in the foreseeable future, until next generation. The good news is that both battle royale and these various services aren’t going anywhere.

With all-but-confirmed rumors that the firm is building its next generation of gaming hardware for a potential 2020 launch, Microsoft’s gaming division is using services as a way to generate business and maintain its user base for the time being. And based on today’s report, it’s working.


Source: Microsoft Investor Relations & Press Resources. Xbox.com. Windows Central.

-Dom

Earnings Calendar Apr & May 2019: Gaming, Media & Tech Companies

Updated: April 29, 2019

Back again!

Which means, let’s get down to.. business. Here’s the rundown of notable dates for gaming, technology and media results this quarter. Many fiscal periods end in March, so we’ll see a bevy of annual results during the next couple months. Which obviously means extra fun, all around.

See the above calendar image or below for a Google Doc which offers quick access to each investor site.

After that, I’ve highlighted three companies that I’ll be watching closely. What about you? Let me know here or on Twitter. Thanks for swinging by!

Working Casual Earnings Calendar Apr & May 2019: Gaming, Media & Tech Companies

Nintendo Co., Ltd (NTDOY): Thursday, April 25th.

It’s true that Nintendo makes this list virtually every quarter, though it’s especially noteworthy as its Switch hybrid console moves into its third year on market. It’s the end of the Japanese company’s 2019 fiscal year, one in which it previously predicted sales of 20 million Switch units. However, it recently backtracked to say this goal would not be reached. I was bullish on the hardware in recent posts, and still am even if it misses this lofty target, namely because of the rumor that two new models may be out soon. Not to mention its stellar software output. Nintendo has undoubtedly the most prolific short-term lineup of the “big three” manufacturers, with Super Mario Maker 2, Fire Emblem: Three Houses, Luigi’s Mansion 3, a new mainline Animal Crossing plus, most importantly, its flagship Pokemon Sword & Shield due in Q4. In fact, regardless of hardware, I expect software numbers to be above its guidance of 110 million copies from its last report.

Take-Two Interactive Software Inc (TTWO): Monday, May 13th.

Red Dead Redemption 2 from Take-Two Interactive’s Rockstar Games had an amazing launch last October and was the best-selling game last year in the States, wrangling a whopping 23 million copies moved globally to date per last quarter’s results. However, there are questions about how much momentum its Red Dead Online mode can sustain amidst heavy saturation in the online multiplayer space. The good news? One of its main competitors is Grand Theft Auto Online, also owned and published by Take-Two. Separate of Rockstar, I’m anticipating we could see increased guidance from the publisher now that Gearbox Software has announced Borderlands 3 for a September release. A new game in the Borderlands franchise combined with 2K Games’ steady-selling NBA 2K this fall is why I’m predicting the firm could not just boost its forecast going forward, but also then achieve it.

Ubisoft Entertainment (UBI): Wednesday, May 15th.

This will be the French gaming software maker’s annual earnings and the first report after the release of Tom Clancy’s The Division 2, the successor to 2016’s record-breaking Tom Clancy’s The Division. Early indicators are showing strength, though it will be difficult to eclipse the massive $330 million opening week of the original. We also should hear Ubisoft reiterate its plan for 3 to 4 “AAA” titles through March 2020. Especially important since there’s no Assassin’s Creed game in 2019. (Fans can rest easy knowing that it will return in 2020, in what’s likely going to be a Viking setting.) Many expect the lineup to include the previously announced pirate game Skull & Bones, a third Watch Dogs entry plus potentially a Tom Clancy’s Splinter Cell title. I’m not holding my breath on the last one. I’m leaning towards a sequel to 2017’s more action-heavy Tom Clancy’s Ghost Recon Wildlands. Even though the publisher will likely save full reveals for the Electronic Entertainment Expo (E3) gaming conference upcoming in June, any juicy tidbit or guidance adjustment would give a better indication of how its pipeline is.. rounding out.

As always, I appreciate you hanging out for discussion on the busy earnings season for companies in these sectors. Check back soon for updates to those that haven’t yet announced firm dates!

-Dom

Sources: Company Investor Relations Websites/Press Releases, NPD Group, Internet Game Database (IGDB), Nintendo Life, Wall Street Journal, Business Insider, Kotaku.

Earnings Calendar Jan & Feb 2019: Gaming, Tech & Media Companies

Updated: 1/29/2019

It’s a new year, which means another earnings season is underway!

Do you like numbers? And charts ? And corporate buzzwords like “tailwinds” or “compound growth?” Then you’ll dig the next few weeks as we’ll hear reports from major companies around the globe with updates on how each of them are doing.

(And if you don’t, you probably wouldn’t be here amirite?)

With a new earnings season comes my usual post, featuring essentially a calendar of events that no one visiting here wants to miss. Above is a snapshot, while below gives you access to a Google Doc for easy navigation to each investor site.


Working Casual Earnings Calendar Jan & Feb 2019: Gaming, Media & Tech Companies

Notable companies on my radar this quarter are:

There’s been a lot of chatter lately about Nintendo $NTDOY and whether it can hit its lofty hardware target of 20 million Switch units sold during its fiscal year ending in March. I’m on the record as being optimistic it will hit this goal, especially after December’s NPD sales report showing it was the best-selling console in the States during 2018. However I’m actually more interested in its software figures after hearing how well Super Smash Bros. Ultimate is tracking in particular after its December release.

In my recent piece about Capcom’s Resident Evil 2 Remake, I explained why I’m upbeat on the Japanese publisher’s latest title. Today the company revealed it’s shipped 3 million copies of this remake in its first week on sale, eclipsing the launch of Resident Evil 7 in 2017 which moved around 2.5 million. Between this resurgence and the ongoing support of Monster Hunter: World, I anticipate strong results when the firm reports on Monday, February 4th.

Major U.S. publisher Electronic Arts $EA has been in the news for all the wrong reasons lately. Word of another Star Wars game being cancelled broke recently, its upcoming blockbuster game from BioWare called Anthem had a rocky demo this past weekend plus now the company has caved to pressures in Belgium to stop offering “loot box” transactions there for its FIFA franchise after local regulators deemed them gambling. The key here won’t be its actual results on February 5th, but instead its future guidance and overall tone when answering analyst questions. Especially with Anthem releasing next month.

What companies are you interested in hearing from this time around? Did I miss any that you want me to cover? Feel free to leave a message here or on Twitter, I’d be happy to chat. Thanks for stopping by.

-Dom

Sources: Company Investor Relations Websites/Press Releases, NPD Group, VentureBeat, Erica Griffin on YouTube, Kotaku, GamesIndustry.Biz, BioWare.

Can Resident Evil 2 Remake Outsell Its Predecessors?


The blog is no longer dead. You might call it.. undead!

Fittingly, Capcom kicks off a brand new year with another blockbuster January release, which is becoming its signature, with today’s launch of the remake/remaster/re-imagining of the second entry in its classic survival horror franchise, Resident Evil 2 Remake.

I’ve recently finished the game, which is based on the 1998 title of the same name, and even as a mostly casual fan I came away more impressed than I originally anticipated. Like the first, you fight through a devastated version of the fictional Racoon City, ravaged by a virus that’s turning folks into brain eaters. Players can proceed through similar yet diverging story lines from the perspectives of the game’s protagonists: rookie policeman Leon Kennedy and college-student-on-a-mission Claire Redfield.


As you’ll see in the video above, it’s a fantastic, total remake in the truest sense. The world in which shady big-pharma company Umbrella Corporation operates is rebuilt in the same game engine used for 2017’s Resident Evil 7. It features an over-the-shoulder perspective, redesigned familiar areas, new puzzles, plenty of undead enemies to fight and jump scares galore that are actually in different places that the original, to keep players on their toes.

While I still have qualms with some of its gameplay mechanics, especially a lack of punchy weapon feedback and the opaque, stumbling nature of some puzzles that you need to complete in order to proceed, I will admit Capcom and its R&D Division 1 development team sets a new standard for what this type of product should be. Fans of the original are going to devour it like a hungry zombie does when you turn the wrong corner, and I anticipate it will bring in a substantial new audience as well. Which is great news after stories regarding its difficult development cycle, documented recently by Polygon.

Though, let’s be honest. We like critiquing games here however we also really love to talk business! With my critical thoughts out of the way, let’s turn to the series from a commercial standpoint and do some predicting on where this remake will fall in its storied history.

Resident Evil is Capcom’s highest-selling franchise by a wide margin, moving over 85 million copies across its dozen-ish mainline titles and numerous alternate versions, spin-offs, remasters etc. The next closest is Monster Hunter, with 52 million. Four of the company’s six best-selling individual releases ever are Resident Evil games, as you’ll see later in this post. Like the game’s signature G-Virus monster, it’s a behemoth. And a core reason why Capcom remains one of Japan’s most successful game publishers. Especially with the resurgence that began with Resident Evil 7 two years ago, which is approaching nearly 6 million units on its own.

So, can Resident Evil 2 Remake shamble its way up the list to take a bite out of the original and other all-time Capcom best-sellers?

I’m betting that it can, and will, do very well. Especially its first few weeks. Though I’m skeptical it can eclipse the likes of the more action-oriented Resident Evil 5 and Resident Evil 6 which are the best-selling in the series at 7.4 million and 7.2 million units, respectively. I expect Resident Evil 2 Remake can and will outpace the original, plus both launch window and eventual lifetime sales of Resident Evil 7. Which will be impressive, considering that the original was the fastest-selling title in North America at the time of its release in 1998, hitting 5 million copies alone during launch year.

If I had to put a number on it, which I like to do because anyone can say it will “sell well” and look back like got the prediction correct, I’m leaning in the 6.5 million lifetime range. Check the chart below for some context. I’m thinking it will basically align with Resident Evil 2 for its first year, then have good momentum through early next year as we won’t likely see another franchise title just yet.

Why? Early indicators are upbeat, including review aggregators like OpenCritic showing scores in the low 90’s. Critical reception and word-of-mouth has been overwhelmingly positive. Its “1-Shot Demo,” where players could grab a version of the game for free and play for a half hour ahead of release, has been downloaded nearly 2.7 million times as of today.

Going further, a well-done rebuild of an older game has the dual appeal of feeling like something totally new while also tickling gamer nostalgia. And I would argue that nostalgia is a more important factor in the medium of games than any other. Especially when it comes to return to an older style within a long-running franchise, plus a remake that’s so expertly-crafted like this one is.

Lastly, its release window is darn near perfect. Capcom has been smart in releasing new Resident Evil and Monster Hunter games during the past three January’s now, a month that is usually a slower one for the games industry. The prior two years have seen very impressive commercial showings from Capcom, especially Monster Hunter: World which is currently the firm’s best-selling individual title of all time. And ultimately, I anticipate this smart release timing along with the familiarity of the franchise, nostalgia for a return to older games, the indicators from the demo and the outright quality of this version will drive impressive sales for Resident Evil 2 Remake.

So, what about you? Am I being brain dead, and overly optimistic? Or do you actually think the remake will outpace the 5th and 6th installments in the series? Link up here or on Twitter, and thanks as always for.. shuffling through!

-Dom




Sources: Capcom Investor Relations, ResidentEvil.net, Outside Xbox, Polygon, Capcom Fandom, My own Xbox One X for screenshots.