Month: January 2019

Genesis Alpha One‘s ambitions are made clear from the moment you begin constructing the vessel meant to act as an ark for humanity’s survival. You’re alone in space, searching for a planet hospitable enough to act as a new home. But getting there is no easy task. You need to juggle the expansion of your ship, the maintenance of its existing modules and the living conditions of your growing crew of clones, and that’s when you’re not mining for new resources, fending off alien infestations, or tending to crew job assignments. The problem with Genesis Alpha One isn’t that all of these systems buckle under the weight of their interconnectivity–it’s that none of them are that engaging to interact with in the first place.

Genesis Alpha One contains a mixture of strategic shipbuilding and the more personal exploration of your ship and surrounding planets through a first-person view. Your ship can be thought of as a moving command center; it’s where you construct new modules to scan and scavenge resources from nearby debris, hangars for ships to explore nearby planets and biomes to sustain life onboard as you expand your crew of barely indistinguishable clones. When not making changes to your ship, you explore the hallways of your creation or join crews on missions to planets for resource scavenging.

Each run in Genesis Alpha One rarely deviates from the same starting steps. You construct the bare minimum you need on your ship before getting the chance to jettison off into the great unknown–essentials like a Greenhouse for oxygen production, Quarters for your crew, a Tractor Beam for harvesting resources, and more are the fundamentals around which the rest of your ship is built. Although finding the exact module you want to add to your ship is made frustrating by the unclear menu headings (which I never got used to), actual construction is far easier. Modules click into place like Lego blocks, offering entrances and exits that need to be lined up to existing pieces of your ship or strategically placed for future ones. It’s satisfying to go from a broad overview of your uniquely designed vessel and straight into the shoes of a member on board, giving you the freedom to roam around the intricately (or confusingly) laid-out hallways you just placed down.

Genesis Alpha One features familiar elements from roguelikes, giving you modifiers to change how you start each run. You choose a template for your initial crew–based on a Corporation you select–which determines how many metals, elements, and oxygen-producing plants you begin with, as well as the number of crew members on board. You unlock new corporations as you play. To gain access to a corporation that specializes in mining ore, for example, you’ll first need to have one lucrative mining run.

These corporations and their advantages are then combined with a limited number of separate static upgrades, which you discover during your travels through the galaxy and that impact your playstyle more directly. You might choose to adorn your personal suit with upgrades to health and damage reduction but miss out on helpful indicators pointing you to special resources on your galaxy map, for instance. You’re encouraged by the numerous locked upgrades–which appear in the menu–to search new areas of the large galaxy map during each run so that you can secure a more diverse set of upgrades to further modify your playthroughs. There are few that drastically change how a run might unfold, which leads to a sense of tedium setting in with each new attempt and its protracted start. The slight changes to your starting resources and crew do, however, give you more creative flexibility when deciding how to initially start the construction of your ship.

Although building out your vessel is generally satisfying, you soon begin to realize how tedious your routines around the ship can become. Each module has a purpose, and without hands tending to them they remain ineffective. Salvaging resources from nearby debris requires workers on the Tractor Beam, for example, that you need to assign via a console that’s only located in that specific room. The same goes for every other station around your ship, making your opening moments aboard a frantic dash between each room to get everything running. When you jump from one solar system to another, this process sometimes needs to be repeated. You’ll need to rescan new debris around you–which requires you to hold a button for far too long–and manually assign the Tractor Beam again for salvaging, even if you previously assigned crew members to that job. It’s baffling to have to go through these same motions every time you jump to a new solar system (which happens fairly regularly), especially when a centralized interface giving you access to all your ship’s sub-systems would be far easier and more manageable.

This is exacerbated by AI that makes your crew largely useless without your input. Unless they’re assigned to a station, crew members will wander around the ship and not really do anything. They might engage with unwelcome alien stowaways but appear to ignore or forget about them completely when even slightly separated from them. An attacking pirate crew might be storming your hallways and causing mayhem, but your crew won’t react until they’ve entered a room with them inside. As a captain, you’re severely limited in the ways you’re able to command your crew, save for ensuring that they’re present at a console to carry out the menial tasks that rooms and their associated purposes require.

That leaves a lot of additional work for you to do alone, which starts piling up to an unbearable degree. Should you find yourself fighting off an alien infestation, you’re stuck dealing with eradicating the spreading alien eggs alone in the catacombs below each corridor. It’s satisfying to set up your vessel in a way that establishes clear choke points or routes enemies into an area filled with turrets you’ve placed for defenses. But as your ship grows, your ability to actively react to a growing danger becomes nearly impossible. It’s compounded by unclear ways to deal with mission-ending threats such as infestations and raiding pirates. It seems that once either is onboard there’s little you can do to get rid of them for good. Pirates will continually spawn on your ship even after multiple jumps to new solar systems, while aliens will continually sprout new hives even after you’ve cleared them all out. If there’s a way for you to triumph over these challenges after you’ve encountered them, Genesis Alpha One doesn’t make it clear exactly how.

Losing progress in a roguelike is meant to entice you to hop back in with new accessories to change your next run, but Genesis Alpha One doesn’t have the mechanics in place to make these variations interesting enough to experiment with.

The first-person action isn’t that robust, either. You can craft numerous types of weapons–ranging from simple assault rifles and flamethrowers to more futuristic, slow-firing laser weaponry–but enemies rarely offer diverse-enough challenges for you to consider the strategic advantages of each. The actual mechanics of shooting are also not satisfying. You can’t aim down a gun’s sights; instead, you lock onto enemies with the press of a button, making skirmishes tedious and boring. Enemies don’t recoil from your attacks convincingly, robbing the action of a punchy feeling. And, despite your abnormally high movement speed, there are no enemies that demand you use this in creative ways. Instead it’s just easy enough to use that speed to back away from enemies that can hardly ever keep up, or are never accurate enough to pose a threat from afar.

Losing progress in a roguelike is meant to entice you to hop back in with new accessories to change your next run, but Genesis Alpha One doesn’t have the mechanics in place to make these variations interesting enough to experiment with. Instead, death just feels like a punch to the gut, and a reminder that all the tiring setup you endured in the previous run must be repeated for hours to feel anywhere close to where you left off.

From tedious combat to the repetitive nature of exploring new solar systems, there’s little in Genesis Alpha One to hold your attention. Expanding your ship as you traverse a vast universe is marginally rewarding when you get the chance to roam around the elaborate structures you’ve built. But the process of gathering resources to make this possible is arduous, while threats bringing your inevitable demise are either dull to fight against or spawned onto your ship in aggressively large numbers without any clear methods of success against them. Genesis Alpha One contains all the components for deep space adventure, but none of them are executed well enough to make it a voyage worth taking.

As we steadily approach February, there’s no shortage of entertainment to consume in the month of Black History. In an effort to support black entertainment, Walt Disney Studios Motion Pictures has announced that Ryan Coogler’s Black Panther will return to the big screen for one week.

The news comes via Twitter, where the official Walt Disney Company Twitter account confirmed that the Academy Award-nominated and Screen Actors Guild Awards (SAG) winner will begin playing in theatres starting February 1. Tickets will be free and two showtimes will be available each day at 250 participating AMC theatres.

In addition to supporting Black History Month, the Walt Disney Company has announced that it’ll donate a $1.5 million grant to the United Negro College Fund (UNCF) to help minority students access and move through college. According to the press release, UNCF is the nation’s largest and most effective minority education organization who, for 75 years, has helped support “students’ education and development through scholarships and other programs, strengthens its 37 member colleges and universities, and advocates for the importance of minority education and college readiness.”

Black Panther stars Chadwick Boseman (Get On Up, Gods of Egypt) in the titular role of T’Challa/Black Panther, who becomes the king of the African nation of Wakanda after his father T’Chaka (played by John Kani) is killed in the Russo brothers’ Captain America: Civil War. As T’Challa rises to the throne, N’Jadaka/Erik “Killmonger” Stevens (played by Michael B. Jordan) takes this as an opportunity to compete for control of the nation. What follows is a rivalry over who’s more deserving of the title of king.

In our Black Panther review, we called the film “a top tier Marvel movie with all the humor, style, action, passion, and fun that the MCU has come to embody,” calling it “a cultural event that’s going to be hard for Marvel to top, no matter how many worlds Thanos conquers later this year in Infinity War.”

You can view where Black Panther will be playing here.

Halo Infinite developer 343 Industries has made a new hire, and it’s for what sounds like a completely new role. Justin Robey, a 17-year Microsoft veteran who worked as a Software Test Engineer and then a Senior Producer for nearly two decades is now the “Director of Player Voice” at 343. In his new role, Robey will communicate and work with members of the Halo community so that their “voice” is heard by developers throughout the production process.

“This new role is about working with you, the player, to have an active voice throughout the development, launch, and lifetime of Halo Infinite. Let’s rock this together,” he said in a tweet.

Not that it’s much of a surprise, but the hiring of Robey in the new Director of Player Voice role seemingly confirms that Halo Infinite will use the games-as-a-service model similar to previous Halo games and titles from the wider industry in general.

It surely sounds like good news that Microsoft believes in engaging with the community so much that it created a new position dedicated to it. Halo boss Bonnie Ross recently admitted that 343 had made “mistakes” after taking over for Bungie on Halo’s ongoing development. One of those was surely elements of Halo: The Master Chief Collection, which had a rocky launch, but has since not only stabilised, but improved in a serious, significant, and highly enjoyable way.

Halo’s overall community director, Brian Jarrard, also congratulated Robey on joining the 343 team for Halo Infinite. He added, “When the voice of the players is heard and acted on, we all win!” Halo franchise manager Frank O’Connor commented on Robey’s hiring as well, saying–in his own way–that just because Microsoft wants to hear your voice doesn’t mean the company will deliver on every request that comes in.

There is no word on when Halo Infinite will be released, but we do know it’ll launch first in a “flighting” phase for testers. While you wait for that, 343 is planning to make some kind of announcement about The Master Chief Collection soon.

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An Invisible Man remake is being made and Saw co-creator Leigh Whannell has been tapped to direct and co-produce alongside producer Jason Blum.

Variety reports that Whannell will be returning to work with Blum’s Blumhouse Productions for The Invisible Man. Previously he had worked with the company on films including Insidious: The Last Key and Upgrade.

Sources have also said that we will no longer see Johnny Depp, who was previously reportedly cast as the leading man, in the upcoming film.

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