With Lost Planet's roots firmly planted on consoles, it comes as a surprise that the series will soon be making a trip to portables in the form of E.X. Troopers for the Nintendo 3DS. Taking an anime-inspired look and featuring gameplay similar to its console brethren, it appears that the franchise will be bringing some familiar elements to Nintendo's smaller screens. As sudden as the announcement is, Capcom seems to be taking an unexpected approach for the franchise on portables.

More than two years after Infinity Ward founders Jason West and Vince Zampella first sued Activision, their case is finally set to head to trial on May 29. But before the case can be heard, documents have been released which shed light on some unsavory moves Activision made prior to firing West and Zampella in March 2010.

Prior to the start of the case, there have been some developments of note. Electronic Arts, the publisher of the game being produced by West and Zampella's new studio, Respawn Entertainment, was added in late 2010 as a defendant in Activision's counter-suit; Activision alleged EA conspired with the former IW heads to derail the Call of Duty franchise, among other things. Bloomberg reported yesterday the two publishers have reached a settlement, details of which were not made available.

Feature

By: Dennis Farrell May 17, 2012

Some people approach games with a checklist of required features. "No multiplayer? Not even a half-hearted mode thrown in for the heck of it? No thanks!" "Where are my arbitrary achievements?" If internet forums are to be trusted -- and in my experience they always should be -- voice acting is increasingly becoming one such expectation.

When a game fails to check off enough boxes, it runs the risk of coming under scrutiny. Sometimes, though, the pressure to be all-inclusive is directly at odds with the experience a game is attempting to create. Sometimes, voice acting can be a detriment.

You may think of Gears of War when you hear the name "Epic Megagames." Or maybe Jazz Jackrabbit, if you live a lifestyle of old-school cred. Or perhaps what comes to mind is Unreal Engine 3, the behind-the-scenes game technology that's proven to be the current generation's Renderware. And these things are well and good! But over the past few years, Epic's made something of a name for itself with chair's Infinity Blade games.

Infinity Blade and its recent sequel boast what may well be the most spectacular graphics yet seen on iOS (running, not surprisingly, on a modified version of Epic's own Unreal Engine 3), but they impress less in the gameplay department. Certainly they're entertaining enough, but they amount to high-fantasy Punch-Out!! -- simple and limited. Now that the series is a bonafide money-maker for Epic, they're taking a much more direct approach to the property... and a more ambitious one, too. Infinity Blade Dungeons doesn't simply represent a new genre for the series; it's also the first Blade developed internally by Epic.

Everyone's favorite purveyor of exceedingly niche shoot-em-ups, Cave, is back again with Akai Katana, a welcome -- and rare -- appearance of one of their console games localized for the West. Not only that, it's a boxed retail game, and crazier yet, it's another horizontal bullet-hell shooter, just like their last Western retail release, Deathsmiles. And if Deathsmiles' gothic lolita stylings sent you running in the opposite direction, Akai Katana is a much more palatable action game, set in a world where young rebels use their warplanes and the power of the mystical Blood Swords to combat the endless hordes of imperial forces. Yeah, no one really plays these for the plots.

As in every shooter, you fly around the screen destroying enemies that appear from the other side of the screen, using regular speedy fire or more powerful, focused fire that slows your movement. The wrinkle in Akai Katana is that killing enemies earns energy orbs that will let you summon your "phantom." With enough energy you can switch to phantom form, where you become your humanoid spirit partner, who is invincible as long as you don't use the stronger fire. As enemy bullets bounce off the phantom, you can move left and right to bat the bullets around and turn them into point value tokens, though they don't last forever and neither does the phantom energy meter, so you'll have to know when to switch forms and collect them for your big scores.

Consider the following scenario from the Game of Thrones RPG: you get tasked with infiltrating a secure location, and beforehand you assemble a proper uniform -- gauntlets, boots, cape, and helmet -- to gain access. This sequence conjures up the same sort of tension as watching Tywin Lannister and Littlefinger's conversation at Harrenhal in the current season of the show, or reading the duel between The Red Viper and The Mountain That Rides from A Storm of Swords. There's a lot at stake, and one mistake could turn the whole affair catastrophic; but this time, you're in control of this tense situation. You walk up to a guard at a checkpoint, and he asks if he knows you because you seem familiar to him; to this, you reply that you have a very common face that elicits such a question often. Except, as noted earlier, not only are you in disguise, but as part of that disguise, you had put on a full helmet that completely envelops and obscures your face.

That kind of moment embodies playing Game of Thrones, where the occasional moments of intrigue and interest get stymied by bizarre little gaffes, mistakes, and janks. Why is there a conversation about the look of my face when I have a helmet on? It's not an instance of randomized NPC chatter that delightfully skips over the detail of whether the player is wearing a helmet or not -- it's a specific and scripted moment in a mandatory story quest that somehow got past the game's writers and testing.

It's certainly not easy to make a game based off a hit television series; one has to only look back at properties like Buffy, The X-Files, and The Sopranos to find examples of fantastic shows that transitioned into video games via bland and uninspired adaptations. And the less said about the Home Improvement SNES game featuring dinosaurs, the better. Observing this sad trend makes it all the more surprising that Telltale was able to create a fantastic opening to their downloadable series based on The Walking Dead. Sadly the success that they had with the AMC hit caused an old wound to open in the form of us thinking about the potential behind 2008's Lost: Via Domus, and how it failed in every aspect that The Walking Dead succeeds.

Ubisoft Montreal released their adaptation of the ambitious ABC series at the very end of Lost's third season. As the season finale dramatically widened the scope of the series, Lost: Via Domus attempted to retread over the first 60 episodes by placing fans in the shoes of a brand new character. What followed was a bland, uninspired trod through the jungle without any focus whatsoever. Characters from the show would randomly pop-up for the sole purpose of having fans recognize them, and strange gameplay mechanics were shoehorned for no apparent reason. In short, the game was a bit of a mess. So why is it that Telltale was able to succeed with The Walking Dead where Ubisoft failed with Lost?

Ever since Square unveiled the Final Fantasy VII tech demo back in E3 of 2005, fans have been demanding the company bring their 1997 RPG classic to the era of HD consoles. Instead of delivering on the goods, however, Square decided to instead release port after port of their 2D Final Fantasies, along with the 13th (and unfortunately 14th) iteration of the series. With Final Fantasy XIII receiving mixed reviews and Final Fantasy XIV tainting the brand, it seems fans just want a reminder of why they loved the series in the first place. Instead of something new and different, Final Fantasy enthusiasts ultimately crave a prettier version of VII.

FIFA 12 was one of the strongest, most rewarding sports titles I've ever played, so while en route to EA's First Look Event at their studio in Vancouver, I had absolutely no idea what to expect from FIFA 13. Crazy new ball physics? Improved pitch patterns? A Steve Kean-branded survival mode? The trinity of gameplay innovations from 12 (Tactical Defending, Impact Engine, Precision Dribbling) seemed to be an impossible act to follow. And, suffice it to say, EA isn't doing another headline-grabbing revolution. Instead, they plan to cultivate FIFA 12's triumph via intricate refinement. A series of mini-revolutions, if you will.

Whereas FIFA 12's primary additions were a trifecta, EA's incremental plan-of-attack for FIFA 13 is being divided into five. Now, I could easily spin a long and winding yarn about these five features. That's been done before, and sometimes it can get messy. Instead I thought I'd give you a brief synopsis of each, and then explain what I feel the most significant takeaway is.

There are few better feelings than being genuinely surprised by something that you had no idea even existed. Such was the case a few hours ago when I stumbled upon the teaser trailer for Dreadline, an upcoming PC game from Eerie Canal Entertainment. Turns out this is the freshman title by Eerie Canal, a new team comprised of veterans from Irrational Games and Harmonix who worked on titles like BioShock and Rock Band. One could assume that Dreadline would include Objectivism via plastic instruments, but then one would be terribly wrong.

The game places you in the role of a team of creatures who evidently time travel just prior to infamous historical disasters and completely decimate the victims moments before their impending doom. This motley crew consists of an ornery mummy, some sort of feral cat-girl, an ominous cube that looks like it was pulled straight from a Phantasam reboot, and a homicidal child in a ghost costume.