[Update] Deathloop review — Arkane Lyon at the top of its game | lyon gaming – Vietnamnhanvan

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Deathloop is one of the best games of the year. And I say that as someone who has previously recognized the quality of Arkane games while struggling to enjoy them. But with this game, French team Arkane Lyon used some smart tricks to amplify its strengths. And the result is a special experience that has broader appeal than some other Arkane projects.

Deathloop is available September 14 for $60 on PC and PlayStation 5. I played on PS5, where it ran well and without issues. I cannot speak to its stability or performance on PC yet.

At its core, Deathloop is similar to Arkane’s 2017 Prey or either of the Dishonored games. You have firearms and melee weapons for combat as well as special powers (called slabs here) that can augment your offense or your ability to stealth around enemies.

Where the action diverts is in the structure. Unlike Dishonored or Prey, where you make steady ongoing linear progress, Deathloop employs a time-looping mechanic. This means that every day is the same as the last. And while the specifics of how that work are a bit complicated, what’s important here is that the loop enables Arkane’s gameplay to shine.


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Deathloop squeezes delicious juice from the timeloop fruit

Let me get this out of the way. Deathloop is not a roguelite like Hades or Returnal. While you are playing in the same areas time after time, procedural generation has no role here.

Additionally, as the hero Colt, one of the main ways you progress through the game is by following leads and unlocking knowledge about the world. And that specific flow feels linear, and you are likely going to make significant progress toward those goals through every in-game day. This is not an experience about good or bad runs.

Instead, from a mechanical perspective, the time loop exists to build intimacy between the player and the world. And it turns out this is crucial in an Arkane game.

Image Credit: Arkane Lyon

One of the reasons I often bounce off of Arkane’s titles and other immersive sims is because they make me feel dimwitted. When I first go through a stage or an encounter, I often bumble through them just trying to survive. And if an interesting idea about how to use a shortcut or a power occurs to me later, well, I usually am too frustrated with myself to go back and play the level over again.

With Deathloop, however, you’re almost supposed to bumble through your first few times traveling the game’s four main areas. Colt starts the game hungover on a beach with no memories, and it makes sense that he is struggling to find his footing.

But then, thanks to the time loop, you begin to build a relationship with the maps. And now, if an idea occurs to me about how to use the Force push-like Karnesis in conjunction with a cliff, well, I’m likely going to be back in that spot again.


Better worlds through limitations

While the time loop has benefitted me as a player, it’s also something that improved the design of the world and levels.

In other immersive sims, every space often has multiple ways in and you just need to play to your character’s strength to find the right one for you. If you have stealth abilities, you’ll have a way to sneak in through tunnels or whatever. But because you will only go through certain areas a couple of times at most, the level designers have to restrain themselves to ensure players don’t get lost or frustrated.

In short, a map in an Arkane game is typically a series of obstacles and not necessarily a space worth exploring on its own. In Deathloop, again because of the time-repeating mechanic, Arkane was able to flip that on its head.

The four main areas feel much more like worlds to explore. Sure, they have obstacles and alternate paths that you can bypass depending on your equipped powers, but it doesn’t feel like you are simply selecting one of three predefined routes.

This makes the levels feel much more interesting, and a huge part of your early runs will come down to looking around for secrets. And the game excels at rewarding that exploration.

On behalf of all fools, thank you

It’s wonderful to play a game that feels like the developer was considerate of your feelings. And that’s what I get from Deathloop. It’s nice to come to a genre that I’ve wanted to love and to find that one of the best developers in that space wants to welcome in my old, calcified brain.

It helps, too, that Deathloop has so much style. That’s true of its visuals and excellent, thumping soundtrack. And like Hades, its story progresses whether you live or die through each loop.

I have found the narrative somewhat overwhelming at times — just in terms of the amount of information the game throws at you. But Arkane has accounted for that as well with one of the best mission- and info-tracking systems in a game ever. Even if you failed to pick up on a key piece of intel, the game will tell you what you need to do next as long as you found the key piece of evidence.

And the best thing I can say about Deathloop is that it’s all I want to play right now.

Deathloop is available September 14 for $60. Bethesda provided GamesBeat with a download code for the purpose of this review. 


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[Update] TGS Lyon Anime Game Show | lyon gaming – Vietnamnhanvan

Retrouvez un espace dédié au comics au TGS Lyon !

Des conférences seront organisées. Vous pourrez y retrouver Xavier Lancel, rédac’ chef de Scarce, Arno Kikoo pour une conférence “Batman”, une conférence Elsa Charretier animée par Roméo Carroz et “Ecrire du Star Wars” avec Pierick Colinet, animée par Thierry Mornet (Delcourt).
Des expos vous seront également proposées sur StarWars Adventures, les Tortues Ninja et Power Rangers.

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Dans cet espace seront présents des illustrateurs tels que :

– Fernando Dagnino :
Fernando Dagnino est un artiste espagnol multi-compétences. Après avoir démarré dans le graphisme et la publicité, il se lance pleinement dans la BD. Il réalise entre autre une série pour enfant (Kasandra y la Rebelion de los ninos) et participe à de nombreuses séries chez Dark Horse (Captain Midnight, Tarzan on the Planet of the Apes…) ou DC : Supergirl, Special Green Lantern Sinestro, Superman, Teen Titans….
En 2011, DC relance tout son univers et ses séries avec les New 52. Fernando Dagnino dessine alors Resurrection Man, puis Suicide Squad.
En marge de ses collaborations avec les gros éditeurs, il publie son premier creator owned Smart Girl chez Editions Reflexions, et il dessine L’Agent chez Glénat dans leur collection Grindhouse, scénarisé par Mathieu Gabella.

– Elsa Charretier :
Elsa Charretier est une scénariste et dessinatrice de comics. Après avoir démarré sur COWL chez Image Comics, elle a co-créé The Infinite Loop avec Pierrick Colinet chez IDW.
Depuis, elle a travaillé pour DC Comics (Starfire, Bombshells, Harley Quinn), Marvel (The Unstoppable Wasp) et Random House (Windhaven, écrit pat Geroge R.R. Martin), et réalisé de nombreuses couvertures.
Elle a écrit par la suite The Infinite Loop vol 2, ainsi que Superfreaks, et est une artiste régulière sur les comics Star Wars.
Elle travaille actuellement avec Matt Fraction sur NOVEMBER, une série de 3 graphic novel, qui sortiront en 2019 et 2020.

– Gary Erskine :
Gary Erskine travaille dans le monde du comics pendant près de 30 ans, pour MARVEL, DC Comics, Vertigo, Dark Horse Comics, IMAGE, IDW et autres sociétés avec des scénaristes comme Mark Millar, Warren Ellis, Garth Ennis, James Robinson et Grant Morrison, sur des ouvrages incluant The Unwritten, Hellblazer, War Stories, The Massive avec Brian Wood et Grindhouse avec Alex De Campi, et des personnages aussi variés que Judge Dredd, Starman, John Constantine et Captain America. Il a également apporté sa contribution à des licences emblématiques telles que Star Wars, Star Trek, Doctor Who, Transformers ou encore Terminator. Il accompagne des étudiants en cinéma dans l’élaboration de leur story-boards, effectue des ateliers dans les écoles et les bibliothèques et écrit et publie actuellement ROLLER GRRRLS. Ses projets futurs incluent Incendiary.US et Zacharia Gunn : Dakota. 
Gary a également effectué des storyboards et des concept design pour les industries du cinéma et du jeu vidéo, et travaille aussi comme publicitaire pour des clients tels que D’Agostini, SONY, EA Games COLORS, Team GB Brithish Cycling, J League et Joshua Agency. Il a également contribué à la série à succès Metal Made Flesh chez Submersive Comics, avec une histoire courte écrite par Cy Dethan : The Final Piece of Me. Ses travaux les plus récents incluent la bande dessinée accompagnant les romans de la série The Frontline, écrits Marko Kloos, scénarisée par Ivan Brandon chez Jet City Comics, ainsi que des couvertures pour Sabrina, L’Apprentie Sorcière, chez Archie Comics. 
En dehors du monde du comics, Gary anime également des ateliers de création de personnages dans les écoles et enseigne la conception de storyboards aux étudiants de cinéma du Royal Conservatoire of Scotland, et effectua même plus récemment un atelier au Prince’s Trust, organisation caritative fondée par le Prince Charles. Il a effectué divers travaux éducatifs ou promotionnels ainsi que des conférences pour diverses universités, notamment celle de Glasgow et de St Andrews. Il enseigne également le game design à l’université de Fife.
Gary fut aussi le directeur créatif des événements Glenrothes Comic Con en 2017 et 2018. 
Il habite près de St Andrews avec sa femme Mhairi et ses chats, Meg et Mog.

– Raul Fernandez :
Raul Fernandez est issue de la Joso School for Comic-Book Artists, et a choisi de se spécialiser dans l’encrage. Il a commencé à travailler sur les crayonnés de Ramon F.Bachs sur Manticore, puis sur Star Wars et Shrek chez Dark Horse, ainsi que Batman 12-cent Adventure pour DC Comics.
Par la suite, il collabore avec de nombreux autres artistes : Manuel Garcia sur Mystique ou Spider-Man : Breakout, Juan Santacruz sur X-Men : Die by the Sword, Giant Size Hulk, Marvel Adventures : The Avengers, ou encore Marvel Adv. Hulk, ou encore Fernando Dagnino sur Batman and the Outsiders, Superman, Supergirl, Action Comics, Wonder Woman, Justice League : Generation Lost, puis Andres Guinaldo sur JL Dark, Gotham City Sirens, et Joker’s Asylum : The Riddler.
Plus récemment, on a pu le voir encrer Alvaro Martinez sur Batman Detective Comics Rebirth, et actuellement sur Justice League Dark.

See also  Fairy Tail 「AMV」- Day of the Dead | Zeref Dragneel ᴴᴰ | zeref

– George Caltsoudas :
Après des études d’illustration et design à Toronto, George Caltsoudas a participé à de nombreuses campagnes marketing pour de grandes marques : Disney, Legendary, Marvel, Warner Bros, Universal, Paramount, Pixar, Dreamworks, Sony, etc…
Depuis quelques années, il s’est fait connaître des fans de comics pour ses nombreuses couvertures variantes très colorées notamment pour Boom ! Studios, IDW, Titan Comics, mais surtout pour ses illustrations pour Mondo, ainsi que sa série de poster reprenant chaque épisode de la série culte Batman The Animated Series.

Vous pourrez également parcourir l’Artist Alley. Une vingtaine de personnes seront présentes pour vous montrer leurs comics et faire des dédicaces.


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