Rockstar has unveiled the Special and Collector's Editions of Grand Theft Auto V.
A post on the Rockstar Newswire explains just what each one contains, as well as details pre-order bonuses for the game.
First up, the Special Edition of the game will come with a steelbook featuring new artwork of the game's three leads, a blueprint map of Los Santos, a boost to your characters' in-game special ability bars, additional Stunt Plane challenges in the game, as well as bonus outfits and weapons. Finally, additional weapons will be available for free: the Pistol .50, Bullpup Shotgun, and melee Hammer.
A familiar symbol has been spotted on one of the slides shown at the Xbox One reveal, leading to speculation that Crackdown 3 is in development for the console.
A tip was provided to VG247 including the below still, in which you can see Crackdown's agility orb symbol in the bottom left.
Of course the image could just be there for illustrative purposes, or maybe linked to some retro achievements that the user has unlocked, but there's always a chance that Crackdown 3 is coming.
Atari will attempt to sell off its game franchises at auction in July in a bid to curb its bankruptcy losses.
The Wall Street Journal is reporting that the company, which filed for bankruptcy in the US back in January, will try and sell its IPs separately after a bid to find a buyer for the entire catalogue failed.
The auction will take place over four days in July and comes after meetings with 180 potential buyers resulted in just 15 offers, none of which were deemed satisfactory. Atari now hopes that selling its franchises separately will maximise returns.
After nine epic years, the fantastic run of Geoff Johns on Green Lantern has come to a close. It's been a hell of a ride, and we're happy to report that it goes out with a bang. We'll be covering all the new teams on the Green Lantern titles at length next month, but for now let us bask in the glory of this sweeping saga that began in 2004.
At Marvel, Daredevil scored the rare perfect 10 as it delivered a masterpiece, a true culmination of everything that's been great about the series since the beginning.
We also enlisted some IGN All-Stars to review the weekly Comixology Submit releases -- Comixology's self-publishing platform featuring oodles of great indie comics -- so you should check that out here.
Red Lanterns #20 is another epilogue to "Wrath of the First Lantern," but at least DC had the good sense to hold off on this issue until Green Lantern #20 shipped. Naturally, anyone considering this issue will want to have read GL #20 first. Not only does it take place shortly after that conflict, one of the threads fills in a minor hole from that issue. This epilogue hardly packs the emotional resonance of Geoff Johns' finale, but it's a decent enough finish to Peter Milligan's run on the series.
Aquaman #20 earns the distinction of having the most misleading cover of the week. This issue features neither regular writer Geoff Johns nor regular artist Paul Pelletier as the creative team. For that matter, Aquaman himself barely even appears inside. Instead, this "interlude" to the ongoing "Death of a King" story arc puts Aquaman's old team The Others back in the spotlight. Filling in for this standalone adventure are writer John Ostrander and artist Manuel Garcia.
It’s been nine years since we last poked our noses into the lives of Jesse (Ethan Hawke) and Celine (Julie Delpy), the twenty-something romantics that enjoyed a chance one-night meeting in Vienna way back in 1995 (Before Sunrise), only to reconnect in 2004 in Paris (Before Sunset).
Now director/co-writer Richard Linklater and co-writers/actors Hawke and Delpy return to the characters for a third time nearly twenty years after their first encounter. As they approach middle-age and deal with the trivial-yet-cumbersome entrapments of raising a family, the duo struggles to find a way to maintain a relationship that was more or less fueled by the fleeting passion of their younger years.
Yesterday we revealed the results of a poll run by IGN UK, which asked IGN readers about what they’d like to see at the next-gen Xbox reveal event. Microsoft effectively did the opposite of what respondents told us, focusing on the system as the entertainment centre of the home, as opposed to a gaming device.
Now, to be fair, E3 is only weeks away, so Microsoft may well have simply made the decision to save all its big gaming guns for that event and get the, erm, less interesting stuff out of the way first. Regardless, first impressions count, and it seems the reveal has left a sour taste in the mouths of IGN’s audience, at least if the 76,000 people that voted in our follow-up poll are anything to go by.
For those months he was pencilling the book, Guillem March was easily one of the biggest selling points of talon. His hyper-kinetic visuals were well-suited to a hero whose skills involved contortion and stealth more than strength and combat prowess. Sadly, March has departed the series for good, leaving Miguel Sepulveda to fill his shoes. In some ways Sepulveda is a good fit, and others not so much. His moody visuals are perfect for scenes involving the Court of Owls. These shadowy villains factor into the plot more than ever, and they've rarely looked more creepy. The Butcher is even more Hulked out and extreme than he was under March's hand. But Sepulveda's facial work really isn't up to snuff here, and any panel featuring unmasked human characters suffers as a result.
As much as the current volume of X-Men Legacy offers a fresh start for both readers and central protagonist David Haller, it does still build from the foundation laid out by the previous volume. That quality becomes more apparent in issue #11 as Simon Spurrier starts to reference previous characters and conflicts more closely. There's even a sense that the series might regain some of the ensemble focus that disappeared with the relaunch.
Ultimate Comics: Wolverine has been an enjoyable look at an unseen period of Wolverine's life and its impact on his son, Jimmy. Unfortunately, this mini-series doesn't quite stick the landing in its final issue. The climax boils down to little more than a rematch between Jimmy and the man he now knows to be his half-brother, Quicksilver. This issue ties up some loose ends regarding Jimmy's past, but ultimately it has little to say regarding his present.
Occupy Comics #1 is probably a little bit late to the marketplace seeing as much of the attention and public interest in the Occupy Movement has dissipated. It tells some stories that will be familiar to anybody who watched the news late last year, and it's definitely a story worth telling even this late in the game. Regardless how you feel about the Occupy Movement, you'll find worthwhile stuff in this comic. There's great art, interesting history, and at least one very, very good story.
Three issues in and it's probably safe to say that Sex is turning out to be a pretty good series. The world is interesting, the characters are great, and it's got just the right amount of violence. Oh yeah, and sex. There's sex in this comic book. As you probably know by now, that's hardly what it is about, and that's a big part of what makes it so good. Nothing in this book's story feels cheap, just very well done.
Joe Casey's script is really what makes Sex work. It's dense and grows with each issue. The world he is building here is one that will draw you in; one that you want to spend some time with. I don't know where Sex is going, but I know I want to be around when it gets there (I could have said “when it climaxes” but I didn't. Taking the high road, kids). This comic is a really great read, like the kind of stuff we used to get from Preacher, Y: The Last Man, and Transmetropolitian.
It's hard to tell exactly what sort of story The Bounce wants to tell. This first issue feels incredibly familiar, like any given superhero book from the past decade. If the hook is “It's like the real world, but with superheroes!” it ain't gonna work. We've been there, done that. There's just enough here to bring us back for one more issue, but The Bounce really needs to do something to separate itself from all the other “edgy” superhero books that have come out over the years.
Even if you have not been reading Fantastic Four since its Marvel NOW! relaunch, this issue is worth picking up. It's a great read and tons of fun with a little something for everybody. We get a done-in-one tale about Ben Grimm visiting a long since past Yancy Street. He comes back in time to right a wrong and instead ends up teaching the residents of everyone's favorite New York block to stand up and fight. “Yancy Street Don't Bend!” needs to be on a t-shirt. Such a great a moment; such a great line.
With each new issue of this Mad Hatter story arc (yep, still going on) things get worse and worse. The weight and intrigue is gone and all that is left is a little tale that should have ended a very, very long time ago. Also, another person close to Batman gets murdered. And what appears to be hundreds of Gotham citizens are murdered. These pages are packed with melodrama. It's all just death and angst, like a bad hardcore band trying to write their first ballad.
This seems like a really poor time for a side story involving the Batman of Japan. We are ready for the end of Batman Inc. We are ready to see how years and years of stories come together in an epic finale. It's almost done, so pulling us aside for a quick little adventure right now is just plain mean. We are this close, DC! Just give us what we have been waiting so very patiently for. Pretty please.
More than the time period in which it's set or the fact that the star is a direct descendant of Han Solo and Princess Leia, what sets the new volume of Star Wars: Legacy apart from the rest of the Expanded Universe is its aesthetic. It's a novelty simply having an artist as talented and versatile as Gabriel Hardman on board a Star Wars comic in the first place. Whereas many artists excel at either character designs of technology but not both, Hardman is equally adept in both areas. Legacy is the rare comic to take its visual cues and sense of style almost wholly from the original movies rather than the prequels. This vision of the Star Wars Universe looks just like it used to -- dirty, seedy, and home to the worst sort of scum and villainy.
My main recurring complaint regarding the current Deadpool series has been the surprisingly tame and, at times, even limp humor. The book has enough going for it that this flaw has never been a deal breaker, but it's still not a welcome trait in a Deadpool comic. Fortunately, issue #10 makes some inroads as far as delivering a more wacky and amusing Deadpool. Unfortunately, that renewed focus comes at the expense of plot progression.