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The Square Enix E3 event covered all of the major subjects, they revealed Kingdom Hearts 3 gameplay, they showed off Star Ocean 5: Integrity and Faithlessness for North America and Europe, they had Avalanche come out to reveal more on Just Cause 3 and they announced a brand new game, along with a brand new studio. Square Enix President and CEO Yosuke Matsuda took to their E3 2015 press conference stage to wrap-up the event and to reveal the latest project that Square Enix is working on. In order to continue working on new RPG's for their fans Square Enix has founded a new studio titled Tokyo RPG Factory. The first project that Tokyo RPG Factory is working on has no formal name, but has been codenamed Project Setsuna. The game is currently in development and is set to release in 2016 for consoles, no gameplay was revealed for the project -- only concept art. Project Setsuna Square Enix Matsuda described the game's environment as both "whimsical" and "delicate," which is where the codename "Setsuna" is founded. Setsuna translates to "a moment; an instant" from Japanese and is founded in the Chinese Buddhist term that means "split second." In Buddhism Setsuna is "when an enlightened being snips his fingers and all things fall into place; when a rope woven of uncountable hairs is cut by the sword of a powerful being and only one hair is really cut into two parts." Project Setsuna" is now formally known as Ikenie to Yuki no Setsuna and will be releasing for the PlayStation 4 and PlayStation Vita early 2016 in Japan. Setsuna is billed as a return to form for Square and the RPG genre. It draws heavily from classic 90's JRPGs like Final Fantasy, Dragon Quest and Chrono Trigger. The game will feature various unique towns, dungeons and enemies. Channeling Chrono Trigger, the combat will take place seamlessly on the overworld without any screen breaking transition. More importantly, Setsuna marks the return of Square's signature system, Active Time Battle. According to Famitsu, the game is 60% complete. Ikenie to Yuki no Setsuna seems to be aiming to be the ultimate comfort food RPG for players who have fallen out of love with the genre in the modern era. Trailer

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Homefront: The Revolution throws players into a near [CENSORED]ure dystopia where catastrophic events have brought the United States to its knees and enabled the Korean People's Army forces to impose a brutal military occupation. Homefront 2 The Revolution got some airtime at Gamescom 2015, and just recently it was announced that it would be released in May 2016. We round up the rumours on Homefront The Revolution UK release date and more, including screenshots, trailers and gameplay details. See also: the most anticipated games of 2015 & 2016 Latest update (28/01/2016): Updated to include the latest Homefront: The Revolution trailer named "Freedom Fighters". It gives us more of an idea of the story behind the game, while also showcasing short clips of gameplay. I'll be honest: I'd sort of forgotten that THQ ever contracted Crytek for a Homefront sequel. I'd definitely forgotten that Crytek then purchased those rights when THQ went bankrupt just so they could finish creating said sequel. It exists. Crytek is making Homefront 2--titled Homefront The Revolution--a reality. They're really making a sequel to a game best remembered (and not in a good way) for its infamous "Press X to hide in a mass grave" sequence. Even more of a surprise? Homefront 2 actually looks pretty interesting. The United States is lost. We're four years into the North Korean occupation of American soil. They've set up their base of operations in Philadelphia, squatting on the birthplace of independence. You'll take on the role of Ethan Brady, described to us as an "average guy." The words "not militarily trained" were also thrown around. You're a resistant When you blow the doors off that prison, North Korean troops immediately open fire on the crowd of civilians you're hidden in. No hesitation. Of course, you can't have innocent civilians getting hurt, so you fire back, and maybe unleash a few Molotov cocktails on the Koreans. Oh no, what have you done? Homefront 2's treatment of Molotovs is perhaps the most chilling I've seen in any game. I felt uncomfortable listening to the screams of the North Korean soldiers, even if they were the "enemy." Did I mention Homefront 2 is supposedly an open-world game? We only saw a small slice of the action in our demo, but Crytek has beautifully realized a Philadelphia under occupation. A few plywood signs announcing "Baseball @ 4pm" or designating a space as a communal garden are intriguing touches I wish we'd seen more of--how does this open world work when you're not blowing stuff to bits? Do people go about their lives? There are a few baffling facets I hope are explained better upon release. You use your cell phone a lot: for tagging enemies, looking at a map, directing your RC car around, et cetera. I'm no dictator, but if I were, I think disabling civilian access to cell phones would be my first order of business. You're telling me our society has reached a point where all electricity is run off generators, cars are uniformly destroyed hunks of metal on the side of the road, buildings are crumbling, and people are tending to food in communal gardens, but our cell phones still work? For that matter, where the heck is this limitless supply of RC cars coming from? Did the bombs hit all the buildings in town except the Toys 'R' Us? It's a Christmas miracle! Despite these nitpicks (and some early-in-development frame rate issues), I'm excited. It feels weird to be excited about a sequel to Homefront, but I am. There are some decidedly game-y aspects, such as scoring "Uprising points" for disabling cameras, but all in all it seems like Crytek is exploring some interesting concepts in Homefront 2. After years and years of rah-rah-shoot-em-all military shooters, I'm curious about any game that promises to upend that formula. Trailer (2:27):

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PlayStation 4 players can now experience the full adventure of Blizzard’s epic action RPG, Diablo III, and the upcoming expansion, Reaper of Souls all from the comfort of their couch in Diablo III: Ultimate Evil Edition! Take on the role of one of six powerful character class Barbarian, Demon Hunter, Monk, Witch Doctor, Wizard, or the all-new Crusader and embark on a dark journey through Acts I-V to save the world of Sanctuary from ancient and sinister forces. With the new DUALSHOCK 4 wireless controller and a custom-designed console interface, players will be outfitted with touch pad functionality and new social features as they engage in pulse-pounding combat with hordes of monsters and acquire items of incredible power A young civil war veteran is forced on a desperate journey to save his kidnapped wife. Diablo III picks up the story twenty years after the events of Diablo II. Mephisto, Diablo, and Baal have been defeated, but the Worldstone, which once shielded the inhabitants of the world of Sanctuary from the forces of both the High Heavens and the Burning Hells, has been destroyed, and evil once again stirs in Tristram. Playing as a hero from one of five distinct character classes, players acquire powerful items, spells, and abilities as they explore new and familiar areas of Sanctuary and battle hordes of demons to safeguard the world from the horrors that have arisen. Diablo III features a custom 3D-graphics engine to render lush indoor and outdoor areas of Sanctuary with a high level of detail and vivid special effects. The game's physics-enhanced environments are interactive and destructible, offering traps and obstacles that create added danger for players and monsters alike. These elements, along with a new quest system and random scripted events, have been integrated into the game’s random-level generator, giving Diablo III the ultimate combination of dynamic gameplay and replayability. Cooperative and competitive play are available online through an upgraded version of Blizzard Entertainment’s renowned online gaming service, Battle.net. [Blizzard Entertainment]

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NECROPOLIS is a multiplayer, 3rd person, action roguelike set in a dungeon that endlessly reconstructs itself. Hone your skills and travel deeper to face greater threats. Find the exit, or die trying. OBEY THE BRAZEN HEAD OR PERISH. Or don't, you know, no big whoop. NECROPOLIS is a multiplayer, third-person, action roguelike set in a living, magical dungeon that endlessly reconstructs itself, offering only one way out: down. Craft, explore, equip, and hone your skills as you travel deeper and face greater threats. Necropolis is just great. The vocals are deep without going overboard, the guitars heavy but not to the extent that it just becomes a load of noise. While the drums are fast they show a nice bit of rhythm, as the bass presumably does as well to keep the time so well. All of this is just a recipe for success. I found this band in a random playlist on Spotify that I'd followed that updated every couple of weeks. The name of the band was what caught my attention, probably due to my being a nerd (you know, like Darth Vader from Star Wars). Anyway, the song was named 'When the Sun Drowns in Dark', and I decided for whatever reason to stick it on. The song wasn't fast, but it didn't go overboard in terms of slowness. The sound just gave the impression of something building up to a peak, and it certainly delivered on that. The riffs get heavier soon enough, and it really is just a great headbanging kind of track. Nothing too complex, but it sounds great nonetheless. The solo at the two minute mark incorporates some of the melodic elements that I like in my music, and to be honest the song just was the complete package. For whatever reason there were three full minutes of silence after the four minute long song, but that's not really what this is about. For a while I just stuck with that one track because I had a feeling that the rest of the album wasn't going to live up to the expectations I'd been given by that one song, but I did eventually give it a go. And Jesus Christ, it's got everything. Heavy pounding tracks like the appropriately-named 'Black Metal' (although it still feels more like death than black metal) and 'Dark Heart'. Melodic hooks and licks that are just as epic as I'd hoped they'd be seem to find a place in almost every song. My god, this is just everything you need. The stuff just keeps coming at you, it's like it never ends. Truly, I wish it didn't. One of the things I like about this band is that not one of their songs lasts for a period of time that isn't necessary ('When the Sun Drowns in Dark' could be counted as being over the limit I guess, but it's really overclocked and only lasts for four minutes rather than seven). Every one of their songs is three or four minutes long at maximum, although there are an abundance of short tracks that last two and a half minutes or less. Still though, the album is great. There is a wide variety of metal (all of it of the heavier kind), and it really is quite refreshing to listen to. They manage to capture death metal mixed with thrash perfectly, and this is how death metal should be played by every band. Really great job guys, and I look forward to hearing what else you have to offer.

Crashlands feels like a case study in the pros and cons of designing a game for both PC and mobile. It’s easy to assume that any decision made with mobile in mind will hurt the overall game on PC, but that’s really not true, and Crashlands proves it. Simple controls and a clean UI are good news for a game on any platform. Unfortunately, Crashlands also lends some ammo to the other side of the argument. Crashlands is a top-down action RPG with lots of exploration and crafting. You play as Flux, an intergalactic delivery truck driver who has crash landed on an alien planet, and must find a way off so she can finish her deliveries. At first glance, it seems very similar to Klei's whimsical survive-'em-up Don’t Starve, but Crashlands isn’t trying to be a survival game. Instead of hunger and thirst bars, developer Butterscotch Shenanigans puts the focus on combat and quests. I spent most of my time doing missions for the grotesque but charming denizens of the world, helping them kill beasts, undermine demigods, or just go fishing. Survival game tropes like crafting and resource collection are still here, but they’ve been simplified. Most noticeably, there’s no inventory management. You can pick up as much junk as you want and it sorts itself, becoming instantly available when you approach a crafting station. This is the first major design choice influenced by the mobile platform, and it’s a great one. Not having to worry about picking up too many sticks or flowers was a relief, as Crashlands asked me to grow my strength instead of scavenge to survive. Many hard-to-find materials could be needed later, and always being able to pick them up meant I was never punished with inventory busywork to enjoy the discovery. An infinite inventory also allows for even better changes to the formula, like automatically picking up drops from killed enemies, because why would you make me click the loot every time I make something explode? Kill, craft, repeat. Without checking my pockets every two minutes I could focus more on the combat, which is one of the best parts of Crashlands. Clicking is used to both move and attack, with up to four items (healing potions, grenades, stunning items, and so on) assigned to the keyboard. While enemies charge up attacks, a red indicator appears on the ground and you can avoid damage by getting out of the way. So I’m dancing around telegraphed attacks, relying on my ability to micro my rapid clicking in order to deal damage while staying safe. It feels closer to MOBA combat than Minecraft, and my fights often spiraled wildly out of control as my dodging accidentally aggro’d more creatures, each type with its own movement and attack pattern. Crashlands’ boss fights are also some of its best moments, throwing combinations of attack patterns at you—it’s a real challenge to dodge fireballs, punching fists, and AoE attacks while still finding time to actually deal damage. While the combat and the inventory management benefit from their mobile influence, the crafting system and the pacing of the game definitely do not. It wasn’t long before I figured out the grindy framework hidden underneath Crashlands’ charming exterior: Get a new crafting station. Make new armor, a new weapon, and a new tool. Use your new tool to collect a resource you couldn’t before. Use the new resource to make a new crafting station. Rinse and repeat. Crashlands There's very little variation from this structure. Worse, it felt like Crashlands assumed I would be playing in short bursts rather than multiple hours at a time, because I seemed to reach a new tier of crafting bench roughly every hour or so. So if I sat down and played Crashlands for two hours, chances are the armor and weapons I began with would be obsolete twice over by the time I stopped. I could see that not being a problem if I were playing Crashlands for 20 minutes on the train to work each day, but my actions began to feel hollow when I knew the items I was working for would quickly become trash. But the main reason this constant churn of item upgrades feels daunting is that there’s basically no player choice involved. The level eight weapon was pretty much always a better option than the level seven weapon. Every piece of equipment is imbued with random buffs like a chance to stun or resistance to certain types of attacks—my personal favorites were the damage-over-time effects—but the benefits were negligible compared to the guaranteed DPS and health increase with each new level, so those extra abilities did nothing to influence my decision to upgrade. There were no choices that might differentiate my playstyle from anyone else who would pick up the game—there’s only ever one choice: better or worse. It was still satisfying to feel myself getting stronger—going back to early areas and one-shotting Wompits felt like popping a fresh sheet of bubble-wrap—but I wish there’d been some branching paths in that growth. It’s a good game on PC, but probably a better one on mobile.

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Superhot is the first-person shooter deconstructed. You don’t move and shoot, jump and dodge. You move then shoot, jump then dodge. The reason for your turn-based decision making is that time only moves when you do. I’ve been playing the beta for the past week, and it’s superb. Receiver is a game with “a lot of buttons. A needless amount.” So says Graham, who also claims that the gun simulator is one of his favourite roleplaying games. A gun simulator is not a first-person shooter, just as QWOP is not a walking simulator, even though in some ways that’s precisely what QWOP is. Receiver isn’t a game about pointing and shooting, it’s a game about mechanisms – the gun as machine, with parts that require understanding and mani[CENSORED]tion. I’m broadly uncomfortable with games that capitalise every letter of their name, because I don’t like being compelled to shout. I make an exception for SUPERHOT, the stylish FPS in which time only moves when you do. The original prototype was an inventive, surprising delight, and now its revised and expanded return is nearing the end of its successful Kickstarter. With a little over 24 hours to go, it’s even cleared almost all of its stretch goals.

That Dragon, Cancer is a video game created by Ryan and Amy Green, Josh Larson, and a small team under the name Numinous Games. The autobiographical game is based on the Greens' experience of raising their son Joel, who was diagnosed with terminal cancer at twelve months old, and though only given a short time to live, continued to survive for four more years before eventually succumbing to the cancer in March 2014. The game is designed to have the player experience the low and high moments of this period in the style of a point-and-click adventure game, using the medium's interactivity and immersion to relate the tale in ways that a film cannot. The game initially was developed to relate Ryan and Amy's personal experience with Joel when they were uncertain of his health, but following his death, they reworked much of the game to memorialize and personalize their time and interactions with Joel for the player. Alongside the game, a documentary Thank You for Playing, documenting both the last few years of Joel's life and the development of the game, has been filmed to be aired in 2016. That Dragon, Cancer was initially aimed for release as a time-limited exclusive for the Ouya, who helped to fund the game's development. With expanded funding and a larger scope to the game, the developers engaged in a Kickstarter crowd funding, in association with Ouya, to secure additional funds to complete the game and assuring simultaneous release on other platforms including Microsoft Windows and Mac OS X. The game was released on January 12, 2016, on what would have been Joel's seventh birthday. The game was praised for being a raw autobiographical experience from the parents' view, making the player deal with the difficult emotions and the strength of the Greens' faith. That Dragon, Cancer are valuable. Claudia Rankin’s book Citizen flips the table on race. The Act of Killing brings light to the Indonesian killings of 1965 to 1966 and forces the audience to spend time with terribly violent men. It’s possible for difficult media to jostle us out of stagnancy, to see the world, concepts, people in a new way, and games don’t often make an attempt as bold and earnest as That Dragon, Cancer. In one of what are many torturous sequences, an inconsolable, terminally ill Joel wails at the top of his lungs while Ryan loses himself and sends a few desperate prayers to the sky. Afterwards, I called my parents. We talked about the weather in Montana and how the dogs are doing. In exploring such untested territory for games, Numinous Games loses its message during the more conceptual moments: the awkward ‘mini-game’ sections and surreal set pieces. In one, you control Joel as he hangs from a bouquet of inflated medical gloves and floats toward a distant planet. Black cancerous spores threaten to pop the gloves if I move too close, and they eventually increase in number until reaching the planet is impossible. As a gameplay metaphor, it failed because I spent more time thinking about how awkward the sequence was to control than the content of the scene. The gamey vignettes don’t need to be ‘fun,’ but I wish my input felt invisible, so I could actively participate in every moment. Similar scenes make up the majority of the latter half of the game, and each forced a bout of aimless clicking and mouse waving while I tried to figure out what I could do before the sequence ended.Trailer

Prime’s top-down, simultaneous turn-based action pits two teams of micromanaged soldiers against one another in five-second bursts. You independently outline your squad members’ actions step by granular step with empowering precision, and once every strafe and corner check has been finetuned using the handy dry-run preview tool, you “prime” the turn and watch as your preset actions play out against your opponent’s in real time. “Was my shotgunner fast enough to make it past that window before the enemy sniper got into position? Did he turn left, as I predicted, or did he turn right?” Well, you’re about to find out! Because you never quite know what your opponent will do next, every turn becomes a psychological duel – the winner, ultimately, is the player who can be more devious, who can cover all the angles, who can outflank and out think his opponent. In essence, it’s the perfect antidote for all those mindless run-and-gun shooters, relying entirely on tactics and a unique brand of predictive puzzle-solving rather than twitchy trigger fingers. What’s amazing is how fair Prime is. Since soldiers simply follow commands, kills are determined by a number of factors: stance, cover, line of sight, range, weapon type, and more. Constantly trying to account for every factor while inputting commands occasionally made me long for the simplicity of chess. I also spent some early hours fighting with the combat interface, especially when trying to arrange a particularly complex series of commands. You can place and adjust waypoints, set multiple actions at each waypoint, and control the timing down to the split-second -- the level of nuance possible is absolutely daunting. But that nuance is also what makes Prime such an amazing tactical sim. Once I overcame that brutal teething period (and learned the subtle but crucial differences between the Aim, Sweep, and Check commands), I quickly began to appreciate the deep well of tactics it afforded me. Instead wondering why the hell that stupid AI shotgunner killed my soldier even though my guy was already aiming the right direction, I was able to focus entirely on anticipating my opponent’s moves and embracing the thrill of a calculated risk. Importantly, this was all possible because Prime’s combat proved so consistent. After learning the ins and outs, I was rarely puzzled by an outcome. Either I screwed up or I won; it didn’t feel arbitrary. Not only are the mechanics thoughtful and engaging, Prime actually gives you plenty of ways to use them. There’s a full, story-driven single-player campaign that, depending on your play style, could easily devour a dozen hours. The dystopian cyberpunk narrative teeters on the edge of trite and often feels a bit scattered, but does eventually pay off, especially if you’re willing to read the expository text dumps between missions. Beyond the story, the campaign excels at providing new and unpredictable scenarios to test your skills, made all the more unpredictable by the modular, semi-randomly generated battlefields. One mission gave me a trio of shotgunners and tasked me with defeating five snipers positioned on the opposite side of the board, which proved...tricky. Inventive scenarios like that, though occasionally frustrating, kept the experience as a whole fresh and surprising. As solid as the campaign and its AI enemies may be, the real stars of Prime are its multiplayer modes. This game is tailor-made for head-to-head competition, and thankfully, it gives every tool you could possibly need to orchestrate intense battles, including deeply customizable maps and match parameters, six different match types, and even a replay theater. But the coolest part? Prime lets you play multiple matches at once in an asynchronous fashion. Opponent taking forever to finish setting his turn? Simply back out to the multiplayer menu, where you can easily track all your matches, and jump directly into the ones that require your attention. It’s smooth, intuitive, and helps combat turn-based multiplayer’s most common problem, though it still can’t eliminate it entirely. I often struggled to find opponents and endured many matches that became inactive almost immediately. That’s not really Prime’s fault, but it is the reality of situation currently.

Kingdom Come: Deliverance is an open world, action-adventure, role-playing game featuring blockbuster production values, a nonlinear story and revolutionary, first-person melee combat. A Great Game As I See By Graphics, Kingdom Come: Deliverance is an upcoming role-playing video game, set in the 15th century medieval Kingdom of Bohemia with a focus on historically accurate and realistic content. The game will be a single-player experience with branching quest lines and a highly interactive world encouraging emergent gameplay. Kingdom Come will feature period-accurate armor and clothing, combat techniques, and real-world castles recreated with the assistance of architects and historians. The game will also contain period music recorded by Czech masters that were taken note for note from medieval song books.[3] Kingdom Come: Deliverance is scheduled for a Q2 release in 2016 for Microsoft Windows, OS X, and Linux. PlayStation 4 and Xbox One versions have been confirmed as well for a later date Kingdom Come: Deliverance will utilize a classless role-playing game system, allowing players to customize their skills to take on roles such as a warrior, bard, thief or something in between. Abilities and stats will grow depending on what the player does and says through branched dialogue trees. During conversations the time a player takes to make a decision is limited and will have an effect on their relationships with others. Reputation will be based on player choices and will carry consequences.

Attractio is a new first-person puzzle game from Mexican developer GameCoder Studios. For anyone with even a passing familiarity with the Portal series from Valve, you will likely feel right at home, as this title is very much in that same ballpark. However, unlike with Portal, we came away from this experience with a lot left to be desired. The biggest issue is that the game just doesn't make a very good first impression. While we absolutely feel that graphics aren't the only thing to pay attention to, there's a line where you can't help but complain about it. Attractio crosses that line with flying colours, as, at best, this title looks like an early PlayStation 3 release. This isn't limited to just the textures either, as the animations are also not great – in fact, we'd go so far as to call them bad. What's more, in conjunction with these visually lacking characteristics, the game delivers truly painful voice work. While we usually find ourselves in favour of voiceovers if the opportunity arises, this game might have been better off only using text scrawls, as the performances just aren't good. Be the first to change gravity and solve hard deadly puzzles in Attractio! Control the 3 contestants: Dalek, Mia and Keir, who compete to win the controversial reality show. You will need dexterity and cleverness to pass throughout the challenging levels. Are you up for the challenge? We might have been able to overlook all of this if the story offered some quality writing, or at the very least functioned as an interesting framing device, but the release unfortunately does neither of these things. The premise of the game is that candidates compete in a variety of "trials" on a reality show – called Attractio – in order to win a hand-selected prize. These range from things like a monetary payout to freedom, as one of the contestants is actually a prisoner. You assume control of all three characters in the game – Mia, Keir, and Dalek – and each has to solve different conundrums. This brings us to one of the better aspects of the title: the puzzles. Gravity-based puzzles aren't exactly revelatory when it comes to games these days, as quite a few releases have pulled this off to varying degrees, but Attractio deftly delivers some fun head scratchers. Dividing the types of puzzles between the characters also helps mix up the variety as you progress through the game's several hour run time.

A 1-4 player co-op action RPG about building your own mythology in an ancient, occult world. The levels and map are procedurally generated, so they're different every time, giving you new choices, enemies, and opportunities to show your personality and become a legend. Moon Hunters offers gamers a chance to take a mystical journey, where up to four players can work together to solve ancient mysteries and building mythologies. Explore a gorgeous procedurally generated pixel-world that’s rich with hand-painted characters, non-linear stories, and arcane lore. On one fateful autumn evening, the Moon, source of all magic and spiritual power, does not rise. Your course is clear. You must set out alone or with the other chosen children of the Moon to solve the mystery and restore balance.