Monday’s EA and Ubisoft press conferences were like velvety sheets of prosciutto and water buffalo mozzarella in the panino that is E3: Day One. Nestled between two hearty slices of Microsoft and Sony-infused ciabatta, this deliciously cured and vital content from two of the industry’s biggest developer-publishers focused on some of their most solid franchises, ranging from first-person shooters to a cartoony, limbless mascot. Read more about four of EA and Ubisoft’s marquis titles that caught our attention and ran with it like a Red Bull-fueled Rabbid:
Mass Effect 3 (EA): The baroque halls of L.A.’s Orpheum Theatre were filled with sounds of gunfire and galactic warfare as the Mass Effect trilogy’s final title kicked off the keynote. ME3 ups the ante with a worldwide effort to rid Earth of crustacean-ish, leviathan-sized robots, with returning leading man Commander Shepard at the helm. Developer BioWare promises tightened movements and re-polished combat. (March 6, 2012)
Battlefield 3 (EA): Nope, this footage isn’t an on-the-ground war documentary, and it’s not those pesky delirium tremens hallucinations of yours – you actually are watching a video game, and it’s EA’s upcoming, ultra-realistic first-person shooter. The panicked, dust-filled combat set in the near future spans the globe, and you’ll be lobbing grenades in Paris’s arrondissements, as well as the sandscapes of Tehran. EA told the audience there’s no subscription fee for online multiplayer. (October 25, 2011).
Rayman Origins (Ubisoft): Let me say this: I am wicked pumped that Ubisoft is re-embracing Rayman as an unofficial mascot and giving him a stand-alone game without any spotlight-lusting Raving Rabbids. First appearing back in 1995, the purple pugilist is finally headlining his next platformer. Once again, it looks like he’ll be joined by friend Globox, a blue, dopey mouth-breather who inflates into a bubble when the time is right. (Fall 2011)
Assassin’s Creed: Revelations (Ubisoft): The climax of the French gaming company’s presentation had the Los Angeles Theatre cheering. Set in a beautifully detailed sixteenth-century Constantinople, we see Ezio stroll through sinuous city streets that are dotted with fishmongers or rug merchants. The quaintness takes a turn when he uses an ostensible flamethrower to incinerate a pier’s worth of ships. (November 2011)
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