What a difference a frame rate makes. Say what you will about just how much people actually notice frame rate and resolution, but for games that value split-second timing, those extra 30 frames are essential. It's partly why I spent more time with the hack 'n' slash classic DmC: Devil May Cry on PC than with its slower console counterparts, the sharper visuals and general feeling of superiority being a nice added bonus. So here we are, two years on, and console owners can finally get a taste of that sweet 60fps action, courtesy of the Definitive Edition--and it's a fantastic thing. DmC is fiercely creative, and with its new features in tow, so much better than before.

Oddly, it's the story that's surpassed expectations here (excluding the still dire effort in the included Vergil's Downfall DLC)--not because it was ever bad, but it was always overshadowed by the stellar combat. Playing through it again, though, it's amazing to see just how ambitious and, at times, rather clever, it is. Let's not forget that, as a series, Devil May Cry didn't exactly set the world on fire with its schlocky tales of adolescent fantasy. But with DmC, Ninja Theory crafted a story with depth, (mostly) believable characters, and an ambitious assault on commercialism and modern media. The game's savage satirization of organisations like Fox News with the demonic Bob Barbas' Raptor News Network and Coca-Cola with the bile-infested and thoroughly deadly soft drink Virility is a great touch.

Small plot holes and a few heavy-handed moments of satire aside, DmC's story does a great job of crafting a foreboding atmosphere to back up its balls-to-the-wall action, especially when coupled with the excellent voice acting and effortless dialogue. The demon king Mundus and his mistress Lilith are particular highlights, their ruthless, profanity-filled crusade to enslave humankind being a hackneyed, yet effective way of adding a compelling goal to your hack 'n' slash antics.

DmC throws you from one action set piece to the next at a breakneck pace, only giving you time to stop and think during its tedious (but thankfully short-lived) platforming sections. But even in those sections and through its crumbling blood-red cityscapes, cavernous tunnels lined with a viscous green ooze and searing neon discos, it's hard to ignore DmC's stylistic triumphs. Its colorful, oversaturated look is not only visually stunning in its new 1080p guise but also strangely prescient of the direction that later Xbox One and PlayStation 4 games would take.

While it's hindsight that has made DmC's story more impressive, the already excellent combat has improved by a significant overhaul. Naturally, the move from 30 to 60 frames per second makes for a smoother, more responsive experience. With Dante's trifecta of light, medium, and heavy weapon types in tow, as well as guns for ranged shots, spectacular combos fly off the fingers with less effort than before. That's not to say that things are easier this time around: you still need to put in the effort in practice mode, carefully studying the command list, in order to graduate from simple button mashing. But it's worthwhile, and before long, staccato stabbing motions are replaced with elegant swipes, dodges, and uppercuts that chain together for near-endless combos in the air and on the ground.

60fps is only part of the story. One of the best additions is the optional turbo mode (a nod to Capcom's flagship franchise Street Fighter), which boosts game speed by a substantial 20 percent. It's not for the faint-hearted, but the additional speed makes for some furious and thoroughly enjoyable combat. There's also the optional Hardcore mode--which can be activated on any difficulty level--that rebalances the game. Some of the changes include a tweaked style system that quickly deteriorates, increased enemy damage, adjusted parry and evade windows, and a shorter devil trigger. The differences aren't drastic enough to be immediately noticeable, but soon, levels that might not have tested you in the past become far more difficult to beat. Annoyingly, if you've played through the game before on an older console and have already unlocked the harder difficulty levels, you can't transfer your save and skip, and you’ll have to play through the easier ones again.

Serious masochists can opt to turn on the Must Style modifier, which makes it so that you can't damage enemies until you've achieved an S or higher style ranking by pulling off sweet combos. Stack all the modes and modifiers together (Must Style, Hardcore, and Turbo Mode), then whack the game on the new Gods Must Die difficulty setting where enemies deal 2.5x damage and no items are allowed, and the game turns into a challenge worthy of even the most skilled of hack 'n' slash players. There's also the new Vergil's Bloody Palace mode, which eschews the easier difficulty levels of Dante's Bloody Palace and gives you 60 levels of hardcore arena battles. Veteran Devil May Cry fans can even choose to use manual lock-on throughout, which is a nice touch. Frankly, that level of challenge goes far beyond my own manual dexterity with a controller, even after buying new combos and weapon upgrades, but at least now, no one can cry foul about DmC not being as challenging as its predecessors.

Otherwise, DmC remains largely unchanged, which is no bad thing. The enemies remain neatly animated, drooling and sputtering with a grizzly black ooze as they wander through each level. Their varying attacks mean that you can't just sit back and hammer buttons to win. Some enemies have shields that can only be broken with a heavy weapon, while others need the gentler touch of a fast-paced scythe. Deformed cherubs that fling down explosive bombs are perhaps the most irritating of all of the enemies, but they're integral to maintaining the balance of combat. They also give you a good excuse to yank them down to Earth with a whip of your chain before sending them back to hell with a mighty swing of your axe.

Time has been kind to DmC's boss battles, too. They're still formulaic, making you learn a boss's repetitive movements in order to land an attack, but they're seriously impressive--both visually and narratively. An early encounter with the squishy succubus is a treat--not because of the basic platforming required to defeat her but because of her incredibly foul-mouthed tirades and involuntary neon vomiting. Then there's the battle against a holographic Bob Barbas, a fight that sees you transported to the heart of the Raptor News Network and directly into its live news reports, complete with the requisite TV commentary and helicopter shots. DmC's keen sense of style overcomes much of the boss battles' shortcomings, adding to the heady atmosphere of its brightly coloured world.

I imagine there are still some people out there put off by the direction that Ninja Theory took with DmC who still haven't given the game a shot because it so drastically changed the look of the series. This does the game a huge disservice. DmC in its Definitive Edition form isn't just a lick of paint and a technical upgrade. It's a hardcore twist on already impressive game, making the hack 'n' slash action more difficult, but also more compelling than before. The numerous tweaks and upgrades of DmC: Devil May Cry Definitive Edition have made a game that isn't just a better version of DmC, but a bonafide hack 'n' slash classic.

Resident Evil: Revelations 2 has had some great moments over the course of two episodes, but not consistently so. In Episode One, Barry and Natalia stole the show with an eerie trip through the woods, but only after you suffered through fetch quests and awful dialogue as Claire and Moira. However, when those two were confronted by mobs of enemies and had to fight their way out of a logging village in Episode Two, their side of the story was suddenly the interesting half, as Barry and Natalia did little more than retrace their counterparts' steps.

Coming off of Episode Two's dull second half, Episode Three is pure delight, if you can apply that word to the trials and horrors that lie within. It kicks off when Claire and Moira wander through a derelict meat processing plant, a location that's rife with ghastly sights left over from the factory's final days. Blood is in steady supply, and you eventually find yourself waist deep in pools of the red stuff as pig carcasses dangle overhead, a cheerful sight if there ever was one. You get a strong sense of dread as you work your way through the plant, all the while contending with puzzles and mutants. This is par for the course in Resident Evil, but for the first time in Revelations 2, the puzzles are actually interesting, which is more than can be said for those in episodes One and Two.

At one point, an eye scanner prevents you from progressing, and if Hollywood is anything to go by, you know what you must do: steal someone's eye! That's technically the case here, but it's a little more complicated than that, with smaller puzzles to tackle along the way. When you enter a room with red security lasers crisscrossed about, you might expect that you need to contort your body and slip through the gaps, and while that would be an interesting feat, this scenario is actually a good chance for Moira to prove her worth, using her flashlight to highlight a path that will take her safely through. Of course, Claire's perfectly capable of using a flashlight, so it's still weird that only Moira can take advantage of her torch, but given that, using her in this way is far better than simply using her as a second set of hands to pull a lever. That's not to say this doesn't happen in Episode Three; it does. However, at least it's not the only thing she's good for.

As in so many Resident Evil games, you rely on conveniently but unexplainably placed objects or features to resolve puzzles in Episode Three--a clear reminder that you're playing a video game--but this habit has a certain charm to it when handled properly. I don't know why there's a room with spikes on the ceiling that slowly drop towards the floor, but here, it's an opportunity to use your intellect in a way that's different than simply managing ammo and working on your aim, so you embrace its existence rather than question it. It's not immediately apparent what you need to do, but you ultimately need to put yourself in harms way and take advantage of the spikes. It's only by the powers of deduction that you arrive at this conclusion, and the risk involved adds an appreciable layer of tension, which makes it easy to forgive and forget the unrealistic and contrived nature of these scenarios.

Moira has been a thorn in my side for most of Revelations 2, mostly due to her annoying dialogue, but also because you're forced to use her in uninteresting ways. However, a chaotic scene towards the end of her act in Episode Three gives credence to her presence and her partnership with Claire, at least from a game design perspective. A difficult situation sends the two characters on different paths within the same room, which is built to kill, and kill it will, unless you manage to persevere under pressure by executing commands with careful timing and accuracy. It's easier said than done, primarily because the environment is so volatile, and while one character is trying to diminish that particular threat, the other is going toe-to-toe with incoming enemies.

Switching between Claire and Moira is a high-stakes juggling act, and you finally get the sense that they're relying on one another to survive. Sure, Moira's always been able to assist Claire during battle by blinding enemies with her flashlight or whacking them with her crowbar, but it's not until now that you feel like Claire truly needs Moira, which is an important element of any sidekick. If the main character doesn't need their sidekick to swoop in and save them from time to time, her presence will ultimately feel like a burden. Finally, Revelations 2 bucks that trend when it comes to Moira.

Like Claire, Barry relies on his partner, Natalia, far more than he's had to before. Section by section, the duo works together to clear a path through a sewer, but also to safely and efficiently take out large groups of enemies. Primarily, Barry needs Natalia to run along a catwalk in order to open gates that stand in his way, but she can also make Barry's life easier by pushing explosive tanks into the water below.

This setup lets Barry lure enemies into a trap that can be triggered with a single bullet, efficiently clearing a path instead of exhausting your precious resources on individual enemies. There are deterrents, such as a dormant monster next to a tank that will wake up if Natalia gets too close, but this is a chance for Barry to give Natalia backup by picking off the threat from below. After an initial pause, you remember that teamwork's an option and send her into the path of danger for the greater good of the team. These kinds of moments are the best examples of how it can be interesting for an individual to control two characters, which Revelations 2 has struggled with thus far.

Before episode three wraps, you need to complete a mundane puzzle with Barry, who must repeatedly and slowly move a large object from one location to another. After a couple of great hours of solid tension and fulfilling teamwork, this filler comes as a bit of a letdown. A few enemy encounters along the way prevent it from being completely boring, but regardless, you get the feeling that Episode Three would have been served better if it went out with a bang instead of a whimper, even at the cost of its overall length.

As the final chapter in Revelations 2 nears, it's a relief to see the story progress in leaps and bounds during Episode Three. Such moments are long overdue. You learn a great deal about hidden motives, and witness the consequences of certain characters' actions, which stirs up complex emotions among other cast members. Given that there's only one more episode to go, it feels a bit like it's too little too late, but that will ultimately depend on where the story goes in the final episode. Thankfully, there are still some unanswered questions to explore in next week's episode, but as far as Episode Three is concerned, the events at hand are an excellent compliment to the overall great gameplay.

Even though Barry's final stint is a letdown, with payoff after payoff, Episode Three is easily the best episode of Revelations 2 yet. It no longer feels like it was designed in such a way that forcefully attempts to justify having a partner. Instead, your appreciation for your sidekicks comes organically as you work together to solve interesting puzzles and protect each other from danger. Controlling Moira and Natalia no longer feels like a chore; now, it's a privilege, and Episode Three's greatest feat overall.

Microsoft has begun rolling out the Xbox One March system update today.

Revealed for preview members last month, the latest update is highlighted by the ability to take screenshots, which is one of the “most-requested features” by the community.

Players can take screenshots at any point by double-tapping the Xbox button on the controller and pressing Y to save the screenshot or by saying “Xbox, take a screenshot” if the Xbox One is Kinect-ready.

Continue reading…

A group of Cornell University researchers have conducted a study to determine the safest places in the U.S. to hide out during a zombie outbreak.

Researcher and statistician Alex Alemi created an interactive model of what a "real" zombie apocalypse would look like, in which the user can pinpoint the locale of the outbreak and watch it flood across the map. The model has levers to adjust how quickly the outbreak spreads, including a "bite-to-kill" ratio and how quickly the zombies move. The population centers are also fixed, as transportation systems would likely break down in an apocalypse, making escaping from a city impossible.

Continue reading…

The first ten minutes of Ori and the Blind Forest depict a beautiful and soul-crushing story of friendship, selflessness, and loss. They recall the opening minutes of Pixar's Up! in their melancholy, and like in Up!, the introduction provides an emotional foundation for the life-affirming journey that follows. It is a phenomenal opening--a short and wordless tale, playacted by two expressive characters who move with purpose and demonstrate pure affection towards each other.

There's a certain elegance to the game's initial sorrow, and it translates to the way you move through this exquisite 2D platformer. Ori and The Blind Forest is, on a fundamental level, structured as so many other platformers are; It springs from the Metroid and Castlevania tradition, gating your progress behind doors that can only be opened once you have learned a particular skill. As the nimble, lemurlike Ori, you leap and flit about with fantastic grace, and as Ori's abilities improve, so do the joys of navigating his world. When you learn how to climb walls, Ori responds wonderfully to subtle movements of the analog stick, allowing you to finesse him into exactly the right place, such as a sliver of stone embedded within a sea of lava. When you earn your double-jump, Ori somersaults like an acrobat and reacts in mid-air to your aftertouch. What a delight to have such fine control over a character this agile.

One by one, you learn new skills, and new challenges arrive with them. Ori can fire energy orbs at nearby foes when he isn't avoiding them completely, and those creatures can be difficult to overcome. The blobs that stick to walls and ceilings? They aren't much of a hassle, at least until they coat the surfaces you need to cross and spit acid onto the ground. They won't let you stay still: You must take advantage of Ori's dexterity, by leaping over acidic pustules, jumping from wall to wall, or putting the other abilities you have to good use. For instance, you ultimately learn how to deflect projectiles, aiming them back at your foes while propelling yourself in the opposite direction. Turning an oncoming ball of fire back towards its owner is fun, but if you don't pay attention, you could thrust Ori into a wall of spikes, or into a crow hovering nearby.

Propelling yourself through the sky in this manner becomes one of Ori and the Blind Forest's most vital maneuvers. When you first learn it, you typically use the glowing lanterns that dangle from overhangs. Soon, however, you must fire Ori through treacherous areas replete with fiery spheres and those pesky crows, which hurl towards you as if launched from a slingshot. Timing is crucial, as is quickly determining the safest trajectory that still delivers you to your destination. That mid-air fling is at the heart of one of the game's most thrilling scenes: a difficult escape from roaring tides that swallow you whole should you make a single grievous error.

The trial and error this scene and others require can prove frustrating if you prefer to move on to the next area rather than discover, learn, and adapt. I admit to shouting a few expletives when unforeseen circumstances cut my attempts short, falling boulders with crystalline spikes covering their undersides and perilous geysers that spurted from the walls among them. But what a feeling it is to overcome these challenges. The tightly timed retreats that close each chapter are among the finest joys in any platformer--or any game at all--released in recent years. If Ori were clumsy, or if these sequences weren't timed so precisely, these moments would be simply annoying. But in Ori and the Blind Forest, each element harmonizes with every other. If you run into trouble, the game's save system eases the pain. You gather crystals as you play that function as checkpoints, allowing you to determine where you will respawn if you succumb to a bile-spewing frog. You must take care, however, not to drop these crystals everywhere you go, since you can only carry so many.

Those pulse-pounding escapes are complemented by moments of quiet bliss. In time, Ori can break his fall with a leafy parachute, gliding across the screen like a flower petal on the wind. During these moments, it's easy to appreciate the game's visual artistry. Multiple layers give each environment a lovely sense of depth. As you cross a log that bridges one tunnel to the next, thick trees rise in the background. Embers and fire crackle behind you, giving your trek across the troubled world a sense of urgency and purpose. Luminescent blue plants alternately close and unfurl with each jump, shining and glittering even as they become your next cause of death. It is a fairy tale come to life, a description that has rightfully earned "cliche" status--yet rarely is the description so apt as it is in Ori and the Blind Forest.

It isn't just the vibrant art and lush orchestral soundtrack that furnish a storybook mood. It's also the story, which is infrequently told to you via subtitles, accompanied by a narrator who chants along in an unknown language, in the style of Okami, or Panzer Dragoon Orta. It is a simple fable about the renewal of a ravaged land; It is in the details that you find the delights worth prizing. A critter that absconds with an important artifact gains importance you don't initially expect, revealing loneliness, fear, and tenderness not with words, but with exaggerated bows and nods. If there is any blight on this atmospheric transcendence, it is the frame rate, which occasionally falters, ever so slightly, in the final hours.

It's important, however, not to mistake Ori and the Blind Forest for being simply beautiful. It certainly is--but it is also unceasingly clever. It consistently surprises you with new tricks: gravitational divergences, new ways to move through its spaces, and carefully designed levels that require you to think quickly and respond. It is not as snappy as, say, a typical Mario platformer, seeking instead a broader gameplay arc stretching across a single, interconnected world. It's a superb and thematically consistent approach that allows Ori and the Blind Forest to build joy on a bed of heartache, adding a new layer of mechanical complexity with each ray of hope.

Outer space has been famously referred to as the final frontier, but it's a well-worn setting in video games at this stage--even in real-time strategy games. Yet Homeworld refuses to be outdone, beautifully capturing the loneliness of the black void, and then disturbing its eerie allure with the light trails of starfighters engaged in conflict. Returning to this universe in Homeworld Remastered Collection illustrates the series' timelessness. The Homeworld games--and the original in particular--are not just classics in our mind, but classics in practice, standing tall beside any strategy game that dares draw comparisons by being set deep in the cosmos.

Like many games set in space, Homeworld and Homeworld 2 remain attractive even through a modern lens, though directly comparing them to their remastered versions reveal their ages. You can still play those original versions in this remastered collection, though the vibrancy of the newly textured ships and sumptuous backgrounds are an inescapable lure. The mothership--your base of operations in any given Homeworld mission or skirmish--is a particular wonder. It creates a striking parabolic silhouette against the starry background, and its center pylon, which is covered with individual light sources, looks like it must house a vast network of engineers and operators. At least, that's true of the original's mothership; Homeworld 2's vast vessel fills in architectural spaces left open in the original, and looks more structurally sound and elegant, prizing practicality over mystery.

This sense of mystery is paramount to Homeworld's success. The song by Yes that closed the original Homeworld is gone, though I hardly miss it. The game's true sonic successes were the work of composer Paul Ruskay and an audio team that created a wondrous sound that far surpasses the science fiction New Age cliches that occasionally plague games set in space. The Turanic battle music remains a highlight: Rhythmic drums and nasal reeds pierce through droning electronic tones, impressing upon you the otherworldly nature of your newfound foes--quite a feat given a setting that is, by nature, already otherworldly. Individual sound effects take on similar meaning. Entering and exiting hyperspace emits a sustained, pulsing buzz that becomes the series' call to adventure. The hushed groan and persistent beeps that arise when you press the spacebar to view the overall map emphasizes your place as a commander, drawing parallels to undersea exploration by evoking its sounds. This is iconic audio, immediately recognizable to anyone fortunate enough to play.

You may say that it is the gameplay that matters, but this collection's look and sound is vital to each mission's overall feel. Just as the soundtrack slowly unfurls, so too does resource collection. It's a sensibly measured start, given the state of the RTS when Homeworld was released in 1999. Action wasn't typically immediate; World in Conflict hadn't yet been made, and the action-first mentality had yet to overwhelm the genre. This progression is entirely suitable for Homeworld. There's a dreaminess to commanding your resource collectors to mine the nearest asteroids while you cue up your build order and scout out nearby space. Your remaining units transfer from one campaign mission to the next, and reaching your mission objective takes additional time. This gives you a chance to zoom in and admire your bombers as they flit about, and keep an eye on your capital ships as they meander towards their targets.

Returning to this universe in Homeworld Remastered Collection illustrates the series' timelessness.

Engagements are not over quickly in the remastered original. Even when one force is sure to overpower the other, combat is sustained and vibrant. Swarms of corvettes look like flies buzzing around their quarry, though combining individual units into strike groups makes it easy to keep track of even the lowliest scouts. Once the big guns arrive, the comparisons to naval combat become more pronounced: Frigates line up like battleships, focusing their fire on the enemy's most powerful vessels. Don't let the similarities to naval combat fool you, however. You utilize all three dimensions of space; The gameplay map is an entire sphere, not a 2D grid that fools you into thinking the Z axis has meaningful repercussions on gameplay.

Mission pacing builds gradually, requiring you to manage multiple strike groups and be cognizant of each unit's strengths and weaknesses. Some missions are duds, such as a frustrating defensive objective that requires you to destroy asteroids as they approach the mothership. It's a difficult mission, but it's also flat and uninteresting because the tempo remains constant--and because asteroids make for boring enemies when there are entire battalions out in space waiting to be demolished. On the other hand, successfully rescuing friendly forces from a sea of red icons is a rewarding accomplishment, as is wearing down an opposing mothership until it explodes in a flash of particles and fire. (It may not be a realistic depiction of space, but it is certainly a colorful one.) Homeworld introduces new technology and units at a manageable rate, so while there are challenges to face, you're always equipped with the knowledge you need to triumph.

The action isn't exactly as you remembered, as it happens. Perhaps the biggest change is the loss of fuel as a strategic consideration. If your memories of the original game's specifics have dissipated, this may not be a bothersome loss, but infinite fuel means fewer nails bitten when the action heats up. It also makes the presence of Kadeshi fuel pods less sensible: why does the enemy still need to be concerned with refueling, when you do not? Formations don't work as you remember either, with the biggest loss lying with the sphere formation, which now no longer allows you to embed larger ships within an orb of death. Repair ships, meanwhile, must be micromanaged, as they cannot be trusted to provide services of their own accord. This is the original Homeworld viewed through the filter of Homeworld 2, which implemented changes to pathing and projectile damage that don't always feel logical in the earlier game.

Moving from Homeworld 1 to Homeworld 2 is a smooth transition, in any case. There are differences, of course: Homeworld 2 was a full-fledged sequel, as opposed to the Cataclysm add-on, which supplemented the first Homeworld, and is sadly missing from this collection. You do not build individual fighters, for instance, but multi-fighter squadrons, and there are more upgrade branches to consider when determining how to spend accumulated credits. Some changes are for the better: You can target individual ship systems, for example, shutting down the opposition's fighter facilities so that they can no longer produce strike craft, or slowing their roll by demolishing the engines.

This is the original Homeworld viewed through the filter of Homeworld 2, which implemented changes to pathing and projectile damage that don't always feel logical in the earlier game.

Homeworld 2 cuts the original game's post-game resource collection as well, slurping resource units up automatically when the mission ends. The remastered Homeworld allows you to do this as well, granting you nearby resources when you auto-dock and get on your way, though it doesn't always collect everything from the map, so you may still be inclined to send out your collectors to reap. This process isn't exciting, but I find it soothing to relax in this way after a tight series of battles, and then to watch my fighters and ion frigates make their way back to the mothership for manual docking. It emphasizes the melancholy nature of the Hiigaran quest for identity, much of which plays out in poignant black-and-white cinematics. There are scenes of great loss that earn even greater power when the even-voiced narrator breaks his monotone ever so slightly. The Homeworld story is sorrowful at heart, making the coldness of surrounding space a surreal contrast.

You can compare the originals with their remasters in this collection, and if you have the gumption to sign up for yet another unnecessary online service, you can also play the multiplayer beta, which, because it is officially still in testing phase, falls outside of the scope of this review. The Homeworld series' legacy, however, has always lain within its story-focused campaigns, whose excellent action and inherent beauty endure and excel, even in light of the 16 years that have passed since the original's arrival. It is a huge universe out there, but Homeworld Remastered Collection makes a great case for asserting your presence within it.

EastEnders actor Sam Strike is getting cast as the young version of Leatherface in the next Texas Chainsaw Massacre prequel.

According to The Wrap, Strike will portray the the titular inbred horror icon in the film that will be directed by French helmers Julien Maury & Alexandre Bustillo (Inside). Upcoming genre writer Seth M. Sherwood (Black Mass) will script the film.

Sam Strike

Continue reading…

The latest update to Android isn't a wholly new piece of candy, but there's a sweet surprise hidden inside Android 5.1 Lollipop. While some of the notes on the Official Android Blog are focused on fixes to performance and stability, Google has also debuted a new way for Android device owners to secure a lost phone.

Device Protection works in a similar fashion to Apple's Find My iPhone, allowing you to lock a lost or stolen device until you sign back into it with your Google account, even if the thief performs a factory reset. Google says the new feature will be available on "most" Android phones shipped with Android 5.1, in addition to the Nexus 6 and 9.

Continue reading…

While it's not exactly an announcement of a sequel to Prey, developer Human Head is working with Amazon Game Studios to release a survival horror game for mobile devices. Lost Within places you in the dark hallways of the now abandoned Weatherby Asylum, trying to fight or outwit a legendary killer on the eve of the institution's destruction.

When you're not busy trying to stay alive, Lost Within features weapon crafting and the option to fight your way through the asylum; or take a more stealthy approach. There's no set release date for Lost Within quite yet, but based on the trailer, scaredy cats may want to play with the lights on.

Lost Within will launch on iPad, iPhone, Amazon Fire tablets, and the Fire Phone in "the coming months."

Continue reading…

Xbox One NBA 2K15 Bundle With Three Months of Xbox Live

A free game and three months of Xbox Live Gold from Amazon. Not a bad way to sweeten the pot on the Xbox One Assassin's Creed Bundle.

Continue reading…