This week we put together a show that ties into our site's cover story theme, "It Came From Outer Space." Join host Jose Otero along with guests Bob Mackey, Marty Sliva, IGN's Ryan McCaffery for games discussion. The crew gathers to discuss Aliens: Colonial Marines and trade some impressions from next week's big release, Metal Gear Rising Revengeance.
Knowing the Wii U's immediate sales prospects weren't as great as it had hoped is what prompted Nintendo to recently slash sales projections for the console. Rather than expecting to sell 5.5 million units by the end of March, it was now expecting 4 million units to be sold by that same point. That is a significant cut, and one which meant Nintendo was anticipating just under a million units to sell worldwide in the first three months of 2012 after ending 2012 with 3.06 million units sold.
There was invariably going to be a drop-off as the year started because Nintendo systems sell best around the holidays, but without the excuse of supply constraints, a million consoles in three months didn't sound great. Now, at least in the United States, the Wii U's start to the year has been nothing short of abysmal. And while that's rightfully concerning, Nintendo is not far removed from having dealt with a system that many argued was down for the count before it ever made it to store shelves, which could prove to be useful as it moves forward with Wii U.
1UP COVER STORY | WEEK OF FEBRUARY 11 | IT CAME FROM OUTER SPACE!
The Big Three: The Evolution of StarCraft's Zerg, Terran, and Protoss
Cover Story: How Blizzard's major races grew over the course of a decade, and what it meant for strategy.
I
f you want proof that games are living art, always shifting, changing, and taking on new forms, look no further than StarCraft's Terrans, Protoss, and Zerg.
Today we know them as the avatars of balance in real-time strategy; three unique but equally matched races, each with their own style of play. But fans who have been around since StarCraft's original release will likely remember the Reaver Drops; the persistent turtling on the part of Terran players; and the many, many Zergling rushes. I was there with them, and I remember.
A few weeks ago, a couple of us were talking about the recent trilogy of Ocean's films. We remarked how Ocean's 13 just felt like a complete retreading of everything that 11 had done a few years before. It told a similar story with an identical flow, and rarely dared to venture outside of its predefined comfort zone. This was a far departure from Ocean's 12, a creatively bizarre, self-aware caper that alienated a lot of fans based on just how different it was from its predecessor. But both Jeremy Parish and I agreed that 12 was our favorite and the most memorable of the trilogy because of this very departure. It takes commendable courage to completely turn a successful formula on its head, and that's exactly what Steven Soderbergh did. It's with this in mind that I say that Sly Cooper: Thieves in Time contains far too much Ocean's 13, with none of 12's risk to be found.
As the title suggest, Sly's conceit in this installment is his team's ability to traverse to different time periods on a journey to reunite with various members of the raccoon's thieving lineage. After a ridiculously long lore dump and an initial prologue on the rooftops of Paris, Sly and crew embark on their quantum adventure. You'll bust a cowboy out of jail, learn to manipulate time in an ancient desert kingdom, and reunite a sushi chef with his beloved cutlery. But despite the promising nature of these premises, Thieves in Time never manages to rise above mediocrity, no matter which era you travel to.
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