Articles tagged with sony
Feb 21
Posted by Duane at 05:48
So the biggest “thing” from last nights Sony conference was that they didn't actually show the PlayStation 4, instead choosing to show off the potential of the console with some game trailers, “in-game” footage and also showing off the new controller which brings new features to the plate in the shape of “share” buttons.
And yet, somehow, “The Internet” in all its hive mind glory has seemingly made this into a “bad thing”, declaring that “the box it comes in is just as important” and other such statements that all sound rather similar. But why is it so important? I really can't grasp the concept that a big chunky piece of plastic with silicon, copper and plastic innards has to have a certain aesthetic appeal. Okay, I understand it a little, if you're 14 years old maybe or its something that you carry around with you, like a mobile phone, so it has to have a certain fashionable appeal to it. But a games console, that sits under your TV? Nah, it really shouldn't matter what it looks like.
Do people pick their set-top box or DVD/Blu-Ray player based upon how it looks? I certainly didn't, I didn't look around at what (at the time) Virgin Media were offering that was different to Sky. The box is just the device that allows me to use those services, once installed I've paid it barely any attention. Instead its mostly been about the UI and the remote (both of which aren't exactly brilliant on either service) and more importantly the price of use.
I'd say its my age, I'm approaching 30 afterall (not till next year admittedly!), but I don't believe its that and I'm not even one for caring about all of my devices matching, all I care about is that they do their job. But I think Nintendo got it right with making their presentation about the controller and delivering a non-descript box as the console and would think that there's a possibility that Sony could do the same. Now admittedly there will be some design choices to be made, it'll need to be made in such a manner that it can be cooled properly etc so just sticking the tech into a slightly bigger “Blu-Ray box” is probably out of the question, but making something like the PS3 (in its various forms) has got to be a thing of the past surely?
And yet, somehow, “The Internet” in all its hive mind glory has seemingly made this into a “bad thing”, declaring that “the box it comes in is just as important” and other such statements that all sound rather similar. But why is it so important? I really can't grasp the concept that a big chunky piece of plastic with silicon, copper and plastic innards has to have a certain aesthetic appeal. Okay, I understand it a little, if you're 14 years old maybe or its something that you carry around with you, like a mobile phone, so it has to have a certain fashionable appeal to it. But a games console, that sits under your TV? Nah, it really shouldn't matter what it looks like.
Do people pick their set-top box or DVD/Blu-Ray player based upon how it looks? I certainly didn't, I didn't look around at what (at the time) Virgin Media were offering that was different to Sky. The box is just the device that allows me to use those services, once installed I've paid it barely any attention. Instead its mostly been about the UI and the remote (both of which aren't exactly brilliant on either service) and more importantly the price of use.
I'd say its my age, I'm approaching 30 afterall (not till next year admittedly!), but I don't believe its that and I'm not even one for caring about all of my devices matching, all I care about is that they do their job. But I think Nintendo got it right with making their presentation about the controller and delivering a non-descript box as the console and would think that there's a possibility that Sony could do the same. Now admittedly there will be some design choices to be made, it'll need to be made in such a manner that it can be cooled properly etc so just sticking the tech into a slightly bigger “Blu-Ray box” is probably out of the question, but making something like the PS3 (in its various forms) has got to be a thing of the past surely?
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Feb 05
Posted by Duane at 15:15
This generation seems to have been one that has been dominated by the Hollywood Blockbuster-esque action game, particular genre's which were once absolutely huge, haven't had the amount of attention that they once given by both the media and players. Or thats how it would seem, the truth is, these genres have seen some fairly high profile releases and attention with some high ratings thrown in for good measure and lets not forget that many of the elements that are keeping people hooked to the likes of Call of Duty are taken straight from the likes of RPG's and Fighters, and on the mention of that last point, some titles have become absolutely huge and essentially helped relaunch that genre (Street Fighter IV comes to mind here), and really, Ni No Kuni: Wrath of the White Witch should do something similar for JRPG's.
A collaboration between Dragon Quest VIII developers Level-5 and animation studio Studio Ghibli was always going to garner attention from the typical JRPG crowd, and that includes yours truly, and the two working together has created such a sublime and charming piece of work.
You, the player, are placed in the shoes of Oliver, a young boy from Motor Town, who after an accident, loses his Mother. Struck with grief, his tears bring his favourite toy, Mr Drippy, to life and it just so happens that Mr Drippy is a fairy from a different dimensional world. Once awakened, Mr Drippy invites Oliver to his world, wherein Oliver can save a Great Sage that shares his Mothers soul and thus revive her.
It's fair to say, as far as JRPG tales go, its fairly cliche, but the way in which it is loving and charmingly written stops all of that from mattering. The game and its characters emit a kind of warmth that I've not particularly experienced since I first played through Pokemon Red and Pokemon Blue, and the similarities don't end there. At a particular point, fairly early on in the game, you gain the ability to recruit "Familiars", what this entails is that the creatures that you battle out in the wild (discluding bosses and guardians) can be tamed an added to your party for you to use in battle. As expected they all have their own strengths and weaknesses, both in an elemental sense and a physical, and the latter can be addressed by feeding them treats to raise particular stats (in a similar manner to another RPG from my youth, namely Phantasy Star Online's MAGs). As they get stronger you're eventually given the option to "Metamorphasise" them, this is pretty much the same as Pokemon's evolutions, creatures change form (not as drastically as in the Nintendo franchise) and, for a short while, take a hit on their stats, which is remidied as they begin to level up again (or are fed more treats).
The battle system feels like it borrows from another highly popular title too, namely Persona 3, you control one character (but you can chop and change throughout the battle) and give the rest of the human characters particular tactics to follow. I for example have relied heavily on using Mitey (through Oliver) to attack with Esther as our support providing healing spells where needed. It's the flexibility of the system that makes it feel so rewarding and the challenging nature of the game that keeps you on your toes. Whilst we're on the subject of the game being "challenging", it would be unfair for it to be deemed difficult, it would also be unfair for it to be deemed easy or unfair on the player. It is none of these things and nor does it require a noticable amount of grinding, the difficulty comes in how you play it. This isn't a lazy players JRPG, you can't sit back and hit X constantly to attack, you need to pay attention to what your opponents are doing, attack or defend at the right time or move your character around to dodge dashing attacks or to take advantage of weak points. It's the closest the genre has come to developing an action element within its battle systems and it really does feel incredibly rewarding.
So, there's the base on this delightful cake, its something that Mary Berry and Paul Hollywood would be proud of, and the beautiful artwork, cutscenes and brilliantly performed voice acting (a huge shout out to the vocal talents of Gavin and Stacey actor Steffan Rhodri who voices Mr Drippy) add an incredible layer of icing to the perfect dessert.
A collaboration between Dragon Quest VIII developers Level-5 and animation studio Studio Ghibli was always going to garner attention from the typical JRPG crowd, and that includes yours truly, and the two working together has created such a sublime and charming piece of work.
You, the player, are placed in the shoes of Oliver, a young boy from Motor Town, who after an accident, loses his Mother. Struck with grief, his tears bring his favourite toy, Mr Drippy, to life and it just so happens that Mr Drippy is a fairy from a different dimensional world. Once awakened, Mr Drippy invites Oliver to his world, wherein Oliver can save a Great Sage that shares his Mothers soul and thus revive her.
It's fair to say, as far as JRPG tales go, its fairly cliche, but the way in which it is loving and charmingly written stops all of that from mattering. The game and its characters emit a kind of warmth that I've not particularly experienced since I first played through Pokemon Red and Pokemon Blue, and the similarities don't end there. At a particular point, fairly early on in the game, you gain the ability to recruit "Familiars", what this entails is that the creatures that you battle out in the wild (discluding bosses and guardians) can be tamed an added to your party for you to use in battle. As expected they all have their own strengths and weaknesses, both in an elemental sense and a physical, and the latter can be addressed by feeding them treats to raise particular stats (in a similar manner to another RPG from my youth, namely Phantasy Star Online's MAGs). As they get stronger you're eventually given the option to "Metamorphasise" them, this is pretty much the same as Pokemon's evolutions, creatures change form (not as drastically as in the Nintendo franchise) and, for a short while, take a hit on their stats, which is remidied as they begin to level up again (or are fed more treats).
The battle system feels like it borrows from another highly popular title too, namely Persona 3, you control one character (but you can chop and change throughout the battle) and give the rest of the human characters particular tactics to follow. I for example have relied heavily on using Mitey (through Oliver) to attack with Esther as our support providing healing spells where needed. It's the flexibility of the system that makes it feel so rewarding and the challenging nature of the game that keeps you on your toes. Whilst we're on the subject of the game being "challenging", it would be unfair for it to be deemed difficult, it would also be unfair for it to be deemed easy or unfair on the player. It is none of these things and nor does it require a noticable amount of grinding, the difficulty comes in how you play it. This isn't a lazy players JRPG, you can't sit back and hit X constantly to attack, you need to pay attention to what your opponents are doing, attack or defend at the right time or move your character around to dodge dashing attacks or to take advantage of weak points. It's the closest the genre has come to developing an action element within its battle systems and it really does feel incredibly rewarding.
So, there's the base on this delightful cake, its something that Mary Berry and Paul Hollywood would be proud of, and the beautiful artwork, cutscenes and brilliantly performed voice acting (a huge shout out to the vocal talents of Gavin and Stacey actor Steffan Rhodri who voices Mr Drippy) add an incredible layer of icing to the perfect dessert.
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I joke but I'm still a bit disappointed as I was looking forward to Ni No Kuni and don't trust myself not to spend my game funds on something else in post Steam sale jonesing. So rather than coming out on the 25th of January we're not getting Ni No Kuni until the 1st of February
Namco Bandai don't really explain why there's a delay, but they are offering an "adorable" Draggle to download for free to use as a familiar in the game
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Jan
03
03
Posted by Mark at 15:08
Let's get it out of the way first, the patent is horrible. To summarize, it's a system where something similar to an RFID chip is attached to a PS4 disc, then links that unique disc to a unique console (or, more likely, PSN ID) so if there's a mismatch when the disc is used in the future, something won't play.
You can see how this can be used innocently- a freebie for people who buy new, a la Online Pass- although given that the patent itself explicitly states "As a result, the dealing of electronic content in the second-hand markets is suppressed" it's a little harder to swallow.
Either way, it's disappointing to see the issues of "forcibly banning used games" and "used games not being considered strictly desirable" being confused and the usual "The used market has solely positive effects and is exempt from criticism and if it goes away, the entire games industry will collapse overnight" rhetoric dominating the commentary around the story.
The many positives of the used market receding are clear- a greater range of games available at retail for lower prices for longer being the run-on-sentence example which you only have to look at the all-but-used-games-free PC market to see.
It's a shame that when offered A Good Thing, everyone screams the house down to the point where it has to be basically forced upon them- and while we can still expect to become better off as a result, we've lost something else to get it.
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18-12-12
Posted by Leigh at 10:57
Apples and oranges; that’s a term I know I hear a lot when comparing and discussing games and it’s frustrating to have a valid comparison written off with such a phrase. Just because the two things in question are fundamentally different it doesn’t mean comparisons can’t be drawn, and a base level of enjoyment can be judged against each other. For example, If I think a right-out-of-the-oven Greggs Stake Bake is more enjoyable than a weekend in Lanzarote then I should be able to say, as long as I have the context to back it up, and that’s what I’ll be doing with Motorstorm Apocalypse.
It’s hard not to have to draw comparisons to games that may not be like each other these days as so many games cross the traditional boundaries and melt into one another; just look at all the Action RPGs we have that take mechanics from Brawlers and FPSs. Also what we have today is a game that is one of the biggest franchises in entertainment that casts its influence across the entire games industry, and even in genres it has no direct competition with in a hope to capture just some of a popular game’s audience. What I’m saying is that it’s fair to say that an echo of Call of Duty rings in more then a few places within Motorstorm Apocalypse, for better and worse.
Apocalypse is the fourth game in the Motorstorm series and its gimmick that separates it slightly from other racing games is its wide open tracks with multiple routes and its decision to let you drive or ride a number of different vehicles, such as motorbikes, buggies, rally cars, racing trucks and monster trucks, as well as others. What makes the Motorstorm that little bit more compelling is that the tracks are formed in such a way where certain vehicles have more advantage than others over certain terrain; a monster tuck can plough through deeper bodies of water than a buggy, and a motorbike can access tighter areas than a pickup. Utilising your vehicles advantages and knowing its disadvantages is a key part of the game.
Also returning is the series’ boost mechanic. Holding down the X button will increase your speed until your engine overheats, and if you continue to boost beyond the warning your vehicle will explode. The key to maintaining a high speed is to either drive through water to cool the engine, release the accelerator during the time you’re airborne or just letting it eventually cool down on its own. Managing speed, obviously as it’s a racing game, is important to the best performance and being mindful of these mechanics as well as the rather heavy handling model; you really feel like you’re wresting these lumps of rubber and steel around unpredictable scenery and it certainly feels satisfyingly exhausting to complete a race.
Now playing Apocalypse, which adds taking place during a variety of natural disasters and man-made catastrophes to the usual mix, is full of the kind of set-pieces that have become a staple edition in the shootymaybearmytypethinggame genre that is hugely popular now. I imagine we all know the bit, the bit when your man falls on his bum and you hear his ears ringing and it’s a bit blurry and he puts his nicely rendered gloved hand up, blocking something out and a big thing in the background blows up then falls down. You know the bit that’s in pretty much every shootymaybearmytypethinggame since 2008.
But I digress. The reason I bring this up is because in Apocalypse it’s one of those rare moments it makes sense in terms of aiding the moment to moment gameplay. What it does in the context of a racing game, or at least this racing game, is change the geometry of the tracks. It usually happens at random intervals, too, so when one of these set-pieces happens it’s more of a surprise and also has consequences to the game. It’ not a marine falling on his bottom and watching something happen that has no gameplay relevance to you as you probably will have nothing to do with it much directly, but an impressive spectacle that has to be dealt with by finding a line through the falling buildings to stop you from being crushed like a Coke can, and also make you re-evaluate your route on the next lap. This unpredictability and having to deal with the results of these set-pieces makes Motorstorm Apocalypse as good as an action game as it is a racer.
What this means, as a whole, is Motorstorm Apocalypse is a constant fight. As well as the morphing tracks the opposition is also something that constantly pushes you forward as the heavy ‘rubber banding’ keeps opponents close despite how well you are doing. They’re very hard to lose, and a crash towards the end after a race where you have efficiently and swiftly navigated the course still has a good chance of costing you the race, which is frustrating. There is fun to be had in this scrappy style of racing but it does lack the purity of other arcade racing games like the Burnout games or Outrun 2 which are clear and are really satisfying to perfect your run. Apocalypse has an unpredictability to it in the physics which also works against it. You can be speeding along and hit one of the many pieces of debris in a specific way and it can send you into a spin or tumble even when you’ve done the exact same line a number of times previously with no problem. Restarts after a crash are quick, and you don’t lose that much time, but it still can be a frustrating problem on Time Trial type challenges.
As well as the single-player mode where you just go through a series of different types of races there is also an online multiplayer mode which is more interesting in some ways than the single-player mode. In that, you are assigned a car for that race but it’s in multiplayer where you can choose from either a selection of vehicles or even the entire roster. It’s here where you can find a play style that suits you, whether you prefer lighter vehicles such as bikes and buggies or prefer ploughing through with trucks. It’s a shame you can’t do that in single-player in Apocalypse as previous games in the series did allow you to do that and I’m unsure of the reasoning in limiting choice like that.
It’s in multiplayer that the influence of Call of Duty rears its head once again. The progressive unlock system popularised by CoD is also here in Motorstorm Apocalypse and locks customisable accessories behind challenges you accomplish persistently through a race, such as gaining a certain amount of air time during a race. It’s a nice addition but not one that alters the experience of the game too much. Another similarity to CoD is there are loadouts. Though here, they obviously aren’t guns and tools but abilities that do nothing but make the game slightly easier. One reduces the amount of time it takes to respawn after a crash and another makes it so you don’t have to lift off the accelerator to cool your engine down during air time.
I think this only creates a lazy play style and there aren’t any that alter the game in any interesting way It’s like this addition was nothing but to tick off a checklist to fit the current online multiplayer uniform.
But at its core Motorstorm Apocalypse is a fun racing action game that isn’t for the one who likes to shave seconds off their time but provides action game type thrills using the racing template. Oh, and it looks great, too.
It’s hard not to have to draw comparisons to games that may not be like each other these days as so many games cross the traditional boundaries and melt into one another; just look at all the Action RPGs we have that take mechanics from Brawlers and FPSs. Also what we have today is a game that is one of the biggest franchises in entertainment that casts its influence across the entire games industry, and even in genres it has no direct competition with in a hope to capture just some of a popular game’s audience. What I’m saying is that it’s fair to say that an echo of Call of Duty rings in more then a few places within Motorstorm Apocalypse, for better and worse.
Apocalypse is the fourth game in the Motorstorm series and its gimmick that separates it slightly from other racing games is its wide open tracks with multiple routes and its decision to let you drive or ride a number of different vehicles, such as motorbikes, buggies, rally cars, racing trucks and monster trucks, as well as others. What makes the Motorstorm that little bit more compelling is that the tracks are formed in such a way where certain vehicles have more advantage than others over certain terrain; a monster tuck can plough through deeper bodies of water than a buggy, and a motorbike can access tighter areas than a pickup. Utilising your vehicles advantages and knowing its disadvantages is a key part of the game.
Also returning is the series’ boost mechanic. Holding down the X button will increase your speed until your engine overheats, and if you continue to boost beyond the warning your vehicle will explode. The key to maintaining a high speed is to either drive through water to cool the engine, release the accelerator during the time you’re airborne or just letting it eventually cool down on its own. Managing speed, obviously as it’s a racing game, is important to the best performance and being mindful of these mechanics as well as the rather heavy handling model; you really feel like you’re wresting these lumps of rubber and steel around unpredictable scenery and it certainly feels satisfyingly exhausting to complete a race.
Now playing Apocalypse, which adds taking place during a variety of natural disasters and man-made catastrophes to the usual mix, is full of the kind of set-pieces that have become a staple edition in the shootymaybearmytypethinggame genre that is hugely popular now. I imagine we all know the bit, the bit when your man falls on his bum and you hear his ears ringing and it’s a bit blurry and he puts his nicely rendered gloved hand up, blocking something out and a big thing in the background blows up then falls down. You know the bit that’s in pretty much every shootymaybearmytypethinggame since 2008.
But I digress. The reason I bring this up is because in Apocalypse it’s one of those rare moments it makes sense in terms of aiding the moment to moment gameplay. What it does in the context of a racing game, or at least this racing game, is change the geometry of the tracks. It usually happens at random intervals, too, so when one of these set-pieces happens it’s more of a surprise and also has consequences to the game. It’ not a marine falling on his bottom and watching something happen that has no gameplay relevance to you as you probably will have nothing to do with it much directly, but an impressive spectacle that has to be dealt with by finding a line through the falling buildings to stop you from being crushed like a Coke can, and also make you re-evaluate your route on the next lap. This unpredictability and having to deal with the results of these set-pieces makes Motorstorm Apocalypse as good as an action game as it is a racer.
What this means, as a whole, is Motorstorm Apocalypse is a constant fight. As well as the morphing tracks the opposition is also something that constantly pushes you forward as the heavy ‘rubber banding’ keeps opponents close despite how well you are doing. They’re very hard to lose, and a crash towards the end after a race where you have efficiently and swiftly navigated the course still has a good chance of costing you the race, which is frustrating. There is fun to be had in this scrappy style of racing but it does lack the purity of other arcade racing games like the Burnout games or Outrun 2 which are clear and are really satisfying to perfect your run. Apocalypse has an unpredictability to it in the physics which also works against it. You can be speeding along and hit one of the many pieces of debris in a specific way and it can send you into a spin or tumble even when you’ve done the exact same line a number of times previously with no problem. Restarts after a crash are quick, and you don’t lose that much time, but it still can be a frustrating problem on Time Trial type challenges.
As well as the single-player mode where you just go through a series of different types of races there is also an online multiplayer mode which is more interesting in some ways than the single-player mode. In that, you are assigned a car for that race but it’s in multiplayer where you can choose from either a selection of vehicles or even the entire roster. It’s here where you can find a play style that suits you, whether you prefer lighter vehicles such as bikes and buggies or prefer ploughing through with trucks. It’s a shame you can’t do that in single-player in Apocalypse as previous games in the series did allow you to do that and I’m unsure of the reasoning in limiting choice like that.
It’s in multiplayer that the influence of Call of Duty rears its head once again. The progressive unlock system popularised by CoD is also here in Motorstorm Apocalypse and locks customisable accessories behind challenges you accomplish persistently through a race, such as gaining a certain amount of air time during a race. It’s a nice addition but not one that alters the experience of the game too much. Another similarity to CoD is there are loadouts. Though here, they obviously aren’t guns and tools but abilities that do nothing but make the game slightly easier. One reduces the amount of time it takes to respawn after a crash and another makes it so you don’t have to lift off the accelerator to cool your engine down during air time.
I think this only creates a lazy play style and there aren’t any that alter the game in any interesting way It’s like this addition was nothing but to tick off a checklist to fit the current online multiplayer uniform.
But at its core Motorstorm Apocalypse is a fun racing action game that isn’t for the one who likes to shave seconds off their time but provides action game type thrills using the racing template. Oh, and it looks great, too.
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They've titled it "Classic Rock Pack" and with the following tracklist you can certainly see why;
ynyrd Skynyrd – “Free Bird”
Deep Purple – “Smoke on the Water”
Boston – “More Than a Feeling”
Heart – “Barracuda”
Blue Öyster Cult – “(Don't Fear) the Reaper”
The Blues Brothers – “Soul Man”
The Police – “Message in a Bottle”
The Police – “Roxanne”
The Police – “Synchronicity II”
Queen – “Bohemian Rhapsody”
Queen – “Fat Bottomed Girls”
Queen – “Keep Yourself Alive”
Queen – “Killer Queen”
Queen – “Stone Cold Crazy”
Otis Redding – “(Sittin' On) The Dock of the Bay”
The "Classic Rock Pack" will be priced at 2400 points on the XBox Marketplace or £23.99 on PSN Store and will shortly be followed by the "Alternative Rock Pack" and "Metal Pack" to encourage players to learn different styles of guitar playing.
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Formerly known as Psygnosis the developer was instrumental in aiding Sony establish the PlayStation brand in the UK, unfortunately in recent years the studio has only really worked on the Wipeout brand which has seen a reduction in sales across Sony's most recent formats.
As part of SCE Worldwide Studios, we do regular reviews to ensure that the resources we have can create and produce high quality, innovative and commercially viable projects in an increasingly competitive market place. As part of this process, we have reviewed and assessed all current and planned projects for the short and medium term and have decided to make some changes to our European Studios.
It has been decided that Liverpool Studio should be closed. Liverpool Studio has been an important part of SCE Worldwide Studios since the outset of PlayStation, and have contributed greatly to PlayStation over the years. Everyone connected with Liverpool Studio, past and present, can be very proud of their achievements.
However, it was felt that by focusing our investment plans on other Studios that are currently working on exciting new projects, we would be in a stronger position to offer the best possible content for our consumers.
Our Liverpool Facility will continue to operate, housing a number of other vital WWS!E and SCEE Departments.
This should not take anything away from the great work WWS are doing and the incredible games and services that we have made, and continue to make, both for this coming year and further in the future.
Rumour has it that the developer was also working on a new Wipeout for Sony's next generation of hardware whilst theres also a mention of a "Splinter Cell type game" amongst those rumours.
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“What you watched here is only a peek into how alone and forsaken the world has become,” Naughty Dog’s community strategist Eric Monacelli stated. “Our world is a brutal, lethal place in The Last of Us. Be ready for things to get much worse.
“We can’t wait to share this genre-defining game with you. The hounds have started to bay. Get prepared for the coming months and look out for more information at E3.”
The tone of the trailer certainly has yours truly interested and it'll be one of the games I'll be looking for more from at E3 thats for sure!
Show/hide video
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Admittedly, this opinion seems to come from a third party, namely Colin Sebastien of Baid Equity Research, who has said:
“We believe that F2P versions of Wii-U titles are in UbiSoft's plans for the coming year, It appears that new consoles from Microsoft and Sony will also allow more integration of item-based transactions within games, including a free-to-play option similar to the model used in social and mobile games.
“UbiSoft expects this to drive better monetization than what is commonly available in the current generation. We believe the F2P model on consoles, as part of a broad multi-platform strategy (phones, tablets, connected TVs) could drive a higher level of profitability per franchise.
“In addition, developers of Facebook and Mobile/Tablet games may discover a new platform opportunity for their titles in the next console generation.”
Honestly, I don't think anyone other than Nintendo, Microsoft and Sony have any idea if this sort of thing is feasible or not (especially considering licensing fee's that are applied by the console manufacturers when publishers releases games on their console), so we'll have to see if something like Team Fortress 2 or Lord of the Rings Online is ever likely to appear on a console.
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A tweet from slightly sarky games blog Games Asylum has revealed that Sony have managed not to lose all faith in the beleaguered chain, confirming as they have that the store will still be stocking the new PS3 version of Twisted Metal.
This will come as good news for the store, with recent investor and credit troubles causing them to lose out on The Last Story, Tekken 3D, Mario Party 9, Mass Effect 3 and everything else EA is releasing this month, Ubisoft's entire PS Vita launch slate (albeit only temporarily), Asura's Wrath and Street Fighter x Tekken in recent weeks.
However, it's likely that the games will carry the same "Property of Sony" stickers most of their Vita stock did- suggesting they're not entirely out of the woods just yet, and it still remains to be seen if this is going to be enough to keep them out of trouble a week later, as GAME's management have already set this date as a deadline for getting their financial act together.
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