Gears of War 4 (Xbox One) Review

Gears of War 4 (Xbox One) Review

I found myself thinking “Well, this is more Gears of War all right” while playing Gears of War 4, but that’s not a bad thing by any means. There is a lot here to love for fans of the series, and it isn’t a bad place for newbies to get into the series either, considering it requires no previous knowledge to enjoy. Plus, for a limited time you can get all four of the original Xbox 360 titles when you buy the game.

That said, it may be hard to go back and play previous titles considering this entry features the best gameplay in the series.

Gears of War 4 (Xbox One) Review 1The game centres around a group of anti-establishment characters living outside the normal society made by the COG government. Gears of War 4 has a whole lot of diversity. Of course, the lead is a white male and the son of Marcus Fenix, the hero of the original trilogy, and his sidekicks are a black guy who serves as the comic relief (just like Cole did), a girl of questionable race, and a Spanish guy that is a drunkard (probably a stereotype they should have avoided). I appreciate that the series has always included characters of colour, but they always seem so stereotypical aside from Dom, a character from the original trilogy who was Spanish without being a drunk. The characters here aren’t huge departures from what we have already seen in the series, and the lead character, JD, doesn’t get enough time to shine as his dad shows up and steals the show for a lot of the game.

I rather enjoyed the story of these rogue humans fighting both the COG, with their army of oppressive robots, and the other monstrosities they come across. There were some definite missteps however, such as essentially trying to remake and reuse some of the most emotional moments from the original trilogy. I suppose if this is your first Gears of War these moments will hold more weight but I didn’t love seeing something I’ve already seen before acted out with different characters; it just felt cheap. The worst parts of the story are the two times where characters are going to ask for help from another, specific character but refuse to say their name. This comes across like a parent talking in code in front of a child, but in this case, the players are the children and it’s just insulting. I get that the developers were trying build up a surprise, but having the characters awkwardly avoid saying someone’s name for multiple cutscenes is just poor writing.

While the story in Gears of War 4 isn’t the strongest there are two scenes that really stole the show for me: the ending and another ‘so-bad-its-good’ puking scene that I can’t stop laughing about. The latter scene is so unintentionally comical that it rivals the record-setting vomiting found in Team America: World Police. I’m probably going to go back and replay that scene after I finish writing this review because I love it, it’s special to me and The Coalition better not dare to change it.

The waist-high walls and weapons from the original trilogy are back and both feel very familiar. The Gnasher shotgun still dominates, chainsawing a foe in half with the Lancer feels as good as ever, and the gore is more detailed than in prior entries and is so meaty. There are plenty of new additions to your arsenal, like the weapons from the COG robots , which include a fast-firing electric shotgun called the Overkill, a gun that fires saw blades appropriately named the Buzzkill, and a few other less memorable additions. There’s also new movement options available to players like the ability to automatically jump over walls by holding another button while running that also allows you to kick enemies in the face if they are crouching behind said wall, or alternatively, you can crouch behind the wall and reach over and snatch them to quickly perform an execution. These new movement options allow the game to flow faster than ever and will certainly have a major impact in competitive multiplayer. The snatching ability also eliminates the waist-high wall stand-offs seen in previous titles, which is a welcome change.

Gears of War 4 (Xbox One) ReviewThe first half of Gears of War 4—featuring most all of the new weapons and enemies—is easily the better half, with the later stages slowly slipping back into familiar territory—which gets a bit repetitious. Thankfully there are a few scenes involving some new vehicles that provide a break from the same old same old that I won’t spoil here.

Early on you get to experience an intense electric storm, but by the end of Gears of War 4 there had been so many scenes in these storms they no longer felt exciting but annoying, as grenades fly sideways because of the strong winds. There is one particular storm scene where you have to aim a catapult while adjusting for the wind that is easily the worst (though very minor) part of the game, as it is near impossible to predict where your shot will land. For some reason the developers decided to place wind physics over gameplay and that section suffers for it.

From a visual standpoint, this is hands-down not only the best-looking Gears of War yet, but easily one of the most graphically impressive titles for the current generation. Not only have the browns and greys been ditched for more colourful settings, but there are also tons of particle effects such as fire, rain, wind, and (of course) the chunks of your opponents’ bodies. While you’ll see many of the areas in this entry appear similar to those that you’d find in previous titles, they all look leaps and bounds better than ever. One thing to note, however, is that the Xbox One version only runs at 30 fps in the campaign and horde modes and at 60 fps in versus multiplayer, while the PC version runs at whatever your computer can handle.

Thanks to Gears of War 4 being one of Microsoft’s Play Anywhere titles, those that purchase the digital version get a copy for both Xbox One and PC for the price of one physical copy of the game, so I played both. Graphically and mechanically the campaign suffers from running at 30fps on console, though competitive multiplayer is about the same. Obviously, a $300 (or less) console isn’t going to be able to compete with a $2000 (or more) computer which typically ran the game between 80 to 100fps, and rarely dipped below 60fps.. The PC version is the best version and seems to be properly optimized (unlike the recently released Forza Horizon 3).

Gears of War 4 (Xbox One) Review 4While I didn’t get a chance to sample multiplayer at length, I did manage to get in a few matches with the bots who, surprisingly, made for formidable opponents. The classic elimination style game types are back as you remember them including fan favourites Warzone and Execution. Joining these are fun new additions such as Dodgeball, where your goal is to eliminate the enemy team while every kill you achieve brings back a teammate, and Arms Race, where your team’s weapon changes every three kills.

Horde mode has been completely revamped with a new class system and a progression system. There are five classes, and each spawns with different weapons and have different unlockable perks available as you level up. Also new is the fortification system, which allows you to build weapons, decoys, barriers, and turrets using energy that enemies drop upon their death. These new additions make Horde play like a combination of the classic formula mixed with a hint of tower defense mechanics as well as weapon purchasing—like what is found in Counter-Strike—and it is a ton of fun and a great change. Gears 4 has easily the best version of Horde so far and is a must play if you’ve got friends as it requires a lot of cooperation.

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Horde 3.0 – Overkill

The game launches with ten maps (for use in both competitive multiplayer and the revamped Horde mode), including a sexy remake of the classic Gridlock map. 24 maps will also be coming over the next year at a rate of two a month, according to the game’s season pass. Ten maps, feels like plenty, I can only imagine the variety we will have in a year’s time.

Also new to the series are unlockable customizations for multiplayer that include characters, costumes, and skins for your guns, but these are purely cosmetic content. They can be unlocked via an in-game currency earned by simply playing matches, but can also be purchased with yet-to-be-revealed microtransactions that were not available at the time of writing. While I typically frown upon full-priced games adding microtransactions, in the past, these customization options were locked behind paid DLC, so in a way this is a positive and gives players something to work towards in multiplayer other than merely level or rank. If you’re a zombie fan there are zombie skins of many of the characters, though if my experience with Zombie Dom is anything to go by they will constantly yell “brains” at such an annoyingly frequency that your teammates will hate you
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As a big Gears of War fan, I can honestly say this is the best entry in the series. While the campaign isn’t my favourite it still has a lot of character, the graphics are unmatched, the new Horde mode is fantastic, and it is all around one heck of a good time. Now if you’ll excuse me, I’m going back to curb-stomping locust scum as ‘modern day Fred Durst look-a-like’ Marcus Fenix.

E3 2016: Gears of War 4 Behind Closed Doors

E3 2016: Gears of War 4 Behind Closed Doors

There was a time not too long ago when Gears of War was Xbox’s other, other shooter, lagging behind Halo and Call of Duty.  In the videogame industry, however, the only constant is change, and Gears has a very real opportunity to become Microsoft’s crown jewel shooter.  Halo isn’t the killer app it once was, and Call of Duty turned its promotional partnership favour to the PlayStation 4. To paraphrase Chris Rock, Xbox needs another hit.  Xbox needs another hit like a crack addict needs another hit. From the looks of it, Microsoft seems to be banking on Gears of War 4 being that hit.

With many gamers delaying an Xbox One purchase to find out what Project Scorpio actually is, Gears of War 4 may be the sole compelling reason to buy the cheaper Xbox One S.  And unlike the seismic shift that hit Halo when Bungie jumped ship to Activision, some of the past Gears devs are still involved. Most notable is Rod Fergusson, whose reputation in gaming could be summed up as, “the guy who makes sure big games don’t suck”.

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I believe Gears of War 4 will be a look into what the reformed Gears developer The Coalition believes makes up, in developer terms, the DNA of the Gears franchise.  The the most recent original Gears game, 2013’s Judgment, was downright terrible, and I believe that’s because Judgment was a game for Gears critics, not Gears fans: it attempted to “fix” so-called “bad” writing, which ironically resulted in humorless, hackneyed dialogue with an overly complex narrative structure devoid of any real spark.

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I hope that Gears of War 4 marks a return to making games for Delta Squad fans who loved the bromances, the banter, and the games that didn’t try to be anything but what they were.  However, the public stuff we’ve seen from Gears 4 so far has been visually pretty, but flat when it comes to characters. In general, the public mood surrounding shooters is cautious: with shooter after shooter turning away from traditional living room play to chase the eSports crowd, many gamers are waiting to see how much Gears of War is going to continue to be a franchise aimed at gaming consumers who just want to have fun, instead of eSports pros.

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The behind-closed-doors session with Gears of War 4 did show promise, especially regarding those couch co-op features that Halo 5 stripped out. That said, it didn’t totally assuage my concerns that this latest outing is going to feel flat compared to its predecessors. The new cast doesn’t have the scrappy charm of the original Delta Squad, and I couldn’t help but feel that the new Gears are just too pretty, losing that “I could hang out with this guy” feeling present in the first three games.

Granted, these Gears are rookies, not the seasoned fighters raised in wartime like the original cast.  In fact, the powerful flashback trailer with the new protagonist, JD Fenix, shows his childhood memories of daddy Marcus planting trees and mommy Anya in a dress.  I’m going to give him a chance because I’m interested in the intergenerational story of the Fenix men, but he just doesn’t have the visual charm that his dad does.  Marcus Fenix still fills the screen in a much more compelling way.

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I’m also not loving the extremely young, borderline-princess voice-acting approach on Laura Bailey’s character, Kait Diaz. There was an authenticity that came with Dominic Santiago being voiced by Latino voice actor Carlos Ferro that we’re not going to get here. That’s not Bailey’s fault, but she’ll probably take some flak for it, especially since she was also the mo-cap actress for the black female character in Uncharted 4.  This criticism might seem minor, even oversensitive, but in the tinderbox conditions gaming finds itself in these days, it’s unfair to put actors in such politically awkward positions.  If the character is from a particular racial background, the ideal casting is an actor who shares that background.  Furthermore, grit and comedy have been so important to Gears in the past, and it’s hard to do either of these things as a female voice actor when you’re trying to make your voice sound more youthful without making it sound cartoony.

It doesn’t stop there, however. Kait is apparently an Outsider, a group that lives outside the COG and raids COG territories. There are no signs of hard living in the physicality of this character – she’s “model-with-tattoos pretty” instead of “mercenary pretty” – as if someone hired Zooey Deschanel to play a part meant for Claudia Black. This is usually a sign that she’s designed to be “the girl” and not a character in her own right, and that puts me off.  

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The third revealed character, Delmont Walker, voiced by Eugene Byrd, brought more pop to his lines, and he acted legitimately terrified, which I really liked. Delmont is so far the most inherently likable character with his orphan backstory and his legitimate reactions. He gives me the most hope that Gears will still be Gears from a character perspective because he showed signs of being fun.

Since Gears traditionally has a fourth character in the main roster, these are just my first impressions, not final judgements. The creative decisions that bother me could all make sense in the context of the complete team. I hope that there will be a second prominent female character to balance things out and take some of the pressure off Kait. Being the token woman is always a straightjacket, and Gears has had such great female characters in its extended canon.

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Concerns out of the way, let’s talk about what’s good. The aforementioned DNA of Gears of War combat is intact, with some extra flourishes that enhance what’s come before instead of trying to outdo it. You can now grab enemies over cover, but if you miss it makes you vulnerable.  There’s also more environmental interaction, with blobs of cover you can shoot to make it drop from the ceiling… And yes, I meant to say blobs. They’re mushy cocoons.

The enemies have stayed similar-looking — with some cool notable exceptions to this rule — but there seems to be a different motivation for them. Some enemy is swiping people and transforming them, and instead of grubholes there are nests… which function exactly like grubholes.  I don’t mind this “if it ain’t broke, don’t fix it” approach.  The combat should feel familiar, since the third-person tunnel shooting is a hallmark of the franchise. Of course, this game opens things up more in places, but they’re not straying so far afield that I’m worried it won’t feel like a Gears game. This makes me happy since games lose something if critical pieces of their DNA are altered.

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If I have to choose between good gameplay and entertaining writing, I’d obviously rather have the gameplay. I hope, however, that we won’t have to give up either as Gears moves forward, and that the demo they showed just happened to be an especially flat bit regarding story and character. Gears plots have always been silly but entertaining. They’re action stories, not hard science fiction. I hope that continues. In the meantime, the gameplay definitely shows promise, complete with split-screen co-op in addition to PC/Xbox One cross-play. There would have been great sadness in my house if my husband and I couldn’t play a new Gears game together. This feature is a pretty good sign that Gears of War 4 is still striving to be for the fans.

Gears of War: Ultimate Edition (PC) Review

Gears of War: Ultimate Edition (PC) Review

How do you talk about Gears of War in 2016? In the decade that’s passed since the original Xbox 360 release, action games have been immeasurably influenced by Epic Games’ post-apocalyptic shooter. Trying to separate its impact on the medium from its successes as an individual game is difficult. But, with the release of The Coalition’s Gears of War: Ultimate Edition remaster, the player is asked to do just that. Luckily, stepping away from the baggage that accompanies one of the most popular and influential titles in videogames reveals an experience that is just as compelling now as it was when it first arrived in 2006.

Gears of War’s story, such as it is, follows Marcus Fenix and a group of Coalition of Ordered Governments (COG) soldiers in their attempt to fight back against the army of scaly Locust monsters who have devastated and occupied their country. The plot itself is fluff—a series of pretexts meant to provide context for new combat scenarios—but, despite this, Gears’ has a definite, memorable tone. Part of this is due to its aesthetic—beautiful stone collegiate buildings and European-style urban streets now crumbling after decades of war—but more comes from the way its characters are presented.

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Marcus and the rest of his squad are all hyper-masculine, growling, bulging muscles, and tough-guy attitudes. They bark commands to one another during firefights, spout one-liners after escaping dire situations, and mutter gravel-throated commentary as they find new weapons or kick in locked doors. Gears of War’s vision of cool draws on football players, bodybuilders, wrestlers, and hard-nosed military men as its guiding principles. And, whether intentional or not, the end result is hilarious. The COGs are endlessly aggressive, ever hungry for another life-or-death scrape, and their attitude contrasts wonderfully against the backdrop of a world in complete ruin. As insufferable as they’d be in reality, there’s no better cast of characters suited to keeping the player determined (and entertained) on a tour through a dismal, decimated post-apocalypse.

The writing’s grim tone carries through to Gears’ still remarkable style of play, too. Despite the outward familiarity of Ultimate Edition’s control scheme and visual language (there are chest-high walls everywhere), it’s a surprisingly unique game. The squad bounds through levels like miniature elephants, the ground reverberating with the heavy steps of their metal boots as the player urges them onward to the next fight. And the unwieldy power of the characters extends to the way it feels to control their movement in combat.

Whether shooting, running, or chainsawing enemies, Gears’ action feels heavier—more deliberate—than most modern shooters. Unlike the consistent action of contemporary games, which encourages the player to improvise on the fly, scrabbling from cover to cover during firefights, Gears requires a greater degree of tactical thinking. If Fenix isn’t moved to a flanking position, he can easily be cut down by a hail of bullets. If he spends a few seconds too long standing exposed during combat, his health drains at a pace far quicker than what modern games have taught players to expect. The Locust enemies soak up bullets, their monstrous bodies refusing to drop as readily as the soldiers who constitute a military shooter’s enemy force. The acrobatic character movements that increase the speed of a Tomb Raider, Uncharted, or Call of Duty game are absent here, too. Marcus gathers momentum as he runs and he turns with sluggish, weighty motions. This design style is definitely deliberate—it brings the bulky look of the characters in line with the feel of the shooting—but it’s one of the few elements of the game that makes it feel as old as it is.

Character movement may be a bit clunky, but the level and combat design is outstanding, even in a modern context. Ultimate Edition’s visuals bring Gears in line with the graphical fidelity of recent videogames, making it easier to appreciate the original’s art direction. Modern rendering lends a greater scope to moments when the player looks out across wide swaths of ruined city streets, gazes up at an enormous mining facility, or races to a final confrontation as the sky above is filled with wisps of black smoke and flying creatures. The sound design, too, is still fantastic. From the thundering of the soldiers’ boots to the satisfying mechanical clack of a successfully timed reload, the audio heightens the sense of physicality that grounds the game’s action.

Gears of War: Ultimate Edition (PC) Review 3While Ultimate Edition’s audiovisual updates are welcome, none of them are as impressive as the design foundation they’re built upon. Epic Games’ ability to craft memorable combat encounters, placed within imaginatively constructed environments, is still worthy of praise. There’s a sequence where the squad must navigate city blocks at night, blowing up propane tanks and weathering shoot-outs while also moving from fire to fire in order to keep swarms of ravenous, light-fearing creatures at bay. There’s a level where the soldiers methodically clear a mansion of Locust, only to then have to defend it against an onslaught of reinforcements desperate to reclaim their lost territory. There’s the final stretch of the game, where the COGs fight their way to the front of a speeding train, defeating enemies from all sides as they inch their way forward through the cars.

Probably the best thing that can be said for Ultimate Edition’s audiovisual update is that it makes it easier to appreciate just how strong Gears’ original design is. And, for the most part, the PC version performs very well. The same modes presented in 2015’s Xbox One release—the solo and co-operative campaign and a variety of multiplayer options—are intact and, on modest hardware (an i5-4670k and GTX 770), it’s possible to play on high settings with only minor slowdowns during particularly busy sequences. Unfortunately, there are a few glitches. A scripted event late in the game refused to activate until the latest save checkpoint had been reloaded several times; enemies sometimes stop moving, getting stuck behind objects in the environment; invisible walls occasionally popped up in a later level, too, causing Marcus to take cover against thin air. These are relatively minor problems, but still serve as blemishes on an otherwise great version of the game.

These issues aside, Ultimate Edition doesn’t represent a drastic change from the Xbox 360 original. It may look and sound much better, but the core experience is largely unchanged. For a remaster, this is exactly what players should hope for. Rather than fundamentally alter an excellent game that may feel slightly outdated to modern players, Gears of War: Ultimate Edition provides a simple upgrade, making an important piece of shooter history a bit prettier and more accessible to a 2016 audience.

Gears of War: Ultimate Edition (Xbox One) Review

Gears of War: Ultimate Edition (Xbox One) Review

When a game offers four games for the price of one, it’s hard to argue its value. Gears of War: Ultimate Edition will ultimately provide access to four games through Xbox One’s back compatibility program, and that alone makes it tempting. However, the track record on remasters of games has been spotty, so Gears of War: Ultimate Edition has to battle through understandable consumer caution to earn gamers’ money. Fortunately, it does this beautifully because it’s not a remaster. All the in-game objects, textures, backgrounds, character models, and cutscenes have been totally rebuilt so that they look and work (mostly) better. Basically, Damon Baird no longer looks like he lost a bar fight after surviving smallpox, and the Stranded no longer look like evil marionettes dressed like cowboys.
gearsultimateinsert5The redone cutscenes bring greater emotional power to the biggest dramatic moments. There are also additional sight gags and reveals based on subsequent games that will give returning fans fresh thrills. The additional details like interior decorations, propaganda posters, and even the occasional tree all bring fresh life to the first act of the Gears saga.

Moments of terror and sadness are now visible on the characters’ scarred, square-jawed faces. Dom has appropriately dreamy heartthrob eyes, but Marcus has moments where you swear he’s going to shed a few tears too… then he’s back to yelling. Baird’s face is twisted in a way you recognize if you’ve ever had to stay tough while fighting the urge to scream and run away, and it makes his own accomplishments all that much more heroic. Of course, Cole is still Cole, but… I don’t know, he looks cuddlier now, to me. He has something of a baby face which is an interesting juxtaposition with his status as a star athlete turned military killing machine. All of the Gears seem subtly redesigned to have approachable faces, and I think this is a nod to the particular brand of youthful, innocent masculinity that the game promotes: the characters are the tough guys little kids want to grow up to be so that they can protect their friends and families.

Additional backstory is also available through the new COG tag collection reward system: selected Gears of War comic books are unlocked that give you the back stories of General Hoffman, Marcus’ and Anya’s parents, and other critical information that helps you better understand certain parts of the story. When you see a red Gears symbol in the environment, a tag is nearby. It’s absolutely worth taking the extra time to find it and get that comic page.

Long-time fans who have weathered the criticisms of Gears’ brown and green palette will likely note the new pops of colour with amusement. Reds and yellows are all over the place now, not just in blood and Imulsion. Attempting to use this colour balance nine years ago would have resulted in visual mush. Now, enhanced graphics capabilities let the bloody gameplay stand out from red backgrounds without looking like bloodstained puke.

And what about that gameplay!? It’s still a glorious over-the-top example of the best that blood-and-guts gaming has to offer. Bullets hit bodies in sprays of blood, adding to the fun while it takes twenty lancer shots to drop the huge, meatsack locust drones. Headshots result in five-foot-high geysers of blood. Grenade, torque bow, and chainsaw kills result in ludicrous slab-of-beef dismemberments. Bodies get stuck to the playable characters’ feet and get dragged a hilariously long way, complete with squishing sounds. The way these giant men jump and roll around in power armour is still delightfully cartoonish. Yes, people still die, and the emotional toll is real, but the sickening, scarring realities of what ballistic weapons do to the human body are appropriately lacking from the Gears of War equation. It’s more like wrestling mixed with a Troma film. That’s what makes it fun.
gearsultimateinsert4Certain elements—like squad commands, tweaks to the lancer chainsaw, and some other balance elements—have been retroactively applied, but the Hammer of Dawn, sniper rifles, and torque bows all feel pretty familiar. Difficulty has been rebalanced for new players so that easy mode is actually easy… as is normal mode until you hit well past the halfway point. An extended fifth campaign act previously only playable on the Windows version of the game does make the story feel like it ends less abruptly, and both the power station and Brumak fights change things up nicely.

The gun battle in the park, on the other hand, is one of the buggiest parts of the game, including lag when you try to use a Troika gun that makes the fight more frustrating than it has to be. I also had trouble hearing some of the instructions in the theatre level, so you may want to turn on subtitles.

Overall, the QA on the last third of the game seems rushed, likely the result of a short ten-month active production period. In one instance in the Fenix Mansion, Dom got stuck in a doorway and trapped me in a side room, so I had to reload from the last checkpoint. In a few other instances, the stick-to-cover mechanic didn’t work properly—I couldn’t aim or fire while attached to certain objects. Various weird, irritating glitches in the way the Hammer of Dawn behaviour in the courtyard Berserker fight also make me suspect a patch will be forthcoming very soon after launch. However, all of these issues are extremely minor since autosave checkpoints are usually plentiful. If you die or have to reload, you rarely lose much progress.

The greater disappointment was that the 1080p, 60fps redesigned multiplayer often did not run at 60fps for me. I suspect this has to do with network lag because when I played in a LAN setting the framerate drops weren’t there, so I’m not going to reduce the game’s score because of it. If you have fast internet, you’ll likely enjoy the increased smoothness that 60 fps brings to multiplayer gameplay. If you have slower connection, you’ll likely not be able to experience true 60 fps on any Xbox One multiplayer game. That’s not the fault of the game.

The multiplayer experience is still improved, even if you can’t reach 60fps, with multiple interesting gameplay modes and lots of customizable skins available. Team deathmatch, ported over from Gears of War 3, is especially teamwork-driven and newbie-friendly because of the shared pool of lives. Teamwork, to me, is the core of the Gears of War experience.

The game’s narrative and most enjoyable gameplay modes stress cooperation. Even the campaign is more fun when played with a friend, regardless of skill level—split-screen co-op is back for Gears Ultimate, an increasingly rare feature which deserves to be rewarded.

I’m sure some snobs will still criticize the campaign’s “incomplete” narrative structure, but a complete Gears experience isn’t about a meticulously structured story; it’s about giving each character moments to shine and riff off each other. The “testosteromance” of Gears of War still has power, because it reminds us of the kind of heroes we wanted to be when we were ten years old. When a game can do that, it’s achieved something profound.

Black Tusk Studios renamed to “The Coalition”

Black Tusk Studios renamed to "The Coalition"

The future of Gears of War was up in the air. Everyone knew there would be a new one, and everyone suspected Black Tusk was the studio working on it. Well it seems that the studio is changing it’s name and will be offically working on the next installment in the Gear of War Franchise. This could be exciting news, and it seems the team at the Coalition will be sharing more news at E3.

Read moreBlack Tusk Studios renamed to “The Coalition”