Somebody Once Told Me Shrek Forever After Is Coming To 4K Blu-Ray
The world might be ready to roll you, but you don’t need to be the sharpest tool in the shed to appreciate a good Shrek movie. Shrek Forever After fits that bill, and for the first time, it’s getting a 4K Blu-ray release. Preorders for the fourth Shrek film are now live ahead of its release in June.
In case you missed it when it first came out, Shrek Forever After pits the surly ogre against Rumpelstiltskin. After he makes a deal with the magical being, Shrek’s entire history is rewritten and he has only 24 hours to assemble his gang and restore the original timeline. The only problem? Only Shrek remembers his past. Donkey can’t remember his best friend, Fiona has become the warrior princess of a tribe of ogres, and Puss in Boots really needs to go on a diet.
For bonus features, there’s quite a bit here to enjoy after the end credits have rolled. You’ll get deleted scenes, documentaries, a look at the technology behind Shrek, commentary tracks, and much more. Like most Blu-ray releases, this version comes with a standard Blu-ray disc and a digital copy of the film. The other Shrek movies are also available on Blu-ray, and in case you’re looking to assemble a jolly green collection, these can be purchased individually or in bundle deals.
For more Blu-ray deals, preorders for 4K Blu-rays of Team America: World Police and South Park: Bigger, Longer, and Uncut have just gone live. Trey Parker and Matt Stone’s films are definitely not for kids, as these puppet action and animated movies held nothing back to earn their infamous R-ratings.
Another Crab’s Treasure Review – Shellden Ring
To stand out as a Souls-like these days, a game needs to either reach similar heights as the genre’s namesake when it comes to gameplay, or have a compelling new spin on the genre. While Another Crab’s Treasure gets close on the combat front, its excellent 3D platforming are what help distinguish it. Combining those gameplay elements with a genuine, if perhaps slow to start, story about a crab named Kril, who starts as a loner just wanting to get his shell back and go home, but instead finds a greater understanding of the vast ocean, makes for a fun take on the genre.
The game kicks off with Kril’s shell being repossessed as a tax by a wealthy monarch, but this setup is mainly used as an excuse to send him on a treasure hunt across the ocean. Kril’s story during Another Crab’s Treasure is a particularly strong aspect of the game. While initially framed as a tale about Kril breaking out of his routine and finding renewed purpose, it eventually tackles the ocean’s ongoing pollution problems, taking the narrative to a place that is bleak yet also genuine. Where Kril finds himself by the end isn’t one of those overdone happy endings, but instead a far more complicated place that feels true to some of the game’s more dour themes.
The game is broken up into large levels, filled with both enemies and platforming challenges, that you need to explore to find an objective, such as a piece of a treasure map, or reach a far-off structure. The levels are well-designed, with combat and platforming flowing together seamlessly. There are a few places where the brutality of Another Crab’s Treasure does overdo it–such as during platforming sections overlooked by ranged enemies–which results in unwelcome difficulty spikes. Trying to navigate these areas while not getting blown up by ranged attacks that take away a third of your health goes from difficult to frustrating, but this only happens in a handful of instances.
Another Crab’s Treasure provides very little guidance in these open levels. There is no objective marker, nor a place where you can see what your current objective is at a glance. The only direction comes from cutscenes in which characters explain your next goal, or by speaking to characters in the level, which is fine most of the time. However, there were a few instances where something as simple as seeing the current objective would have saved a headache.
In the factory area, for example, you can find a puzzle that leads to the next section of the map, and while you can interact with it if you find it early, you can’t actually solve it. But, because I couldn’t check my current objective, it wasn’t clear that I needed to head elsewhere. Another puzzle has you use a magnet for platforming. Naturally, a metal shell is required to do this, but you also have to hold the block button for it to activate, which a nearby NPC takes joy in not telling you, a reflection of the aloof characterization of characters found throughout Another Crab’s Treasure, although it loses some charm here due to the frustration of unclear mechanics. These small hiccups take away from level design that is otherwise strong overall and typically guides you without the need for objective markers.
The platforming, however, sings thanks to a simplistic approach. You have a limited toolset that enables you to grapple between points, hover jump over perilous falls, and climb nets, all of which are introduced early in the adventure. The platforming challenges instead come from the addition of increasingly tricky obstacles and length of the platforming sections, with the demands building alongside your own platforming skill. There is also some nice leeway when it comes to platforming, as falling only takes a chunk of health instead of instantly killing you, providing just enough of a safety net that you aren’t forced to take it slow and can instead let the movement really build momentum. There were a few instances of objects in the environment catching or stopping my movement in a way that felt unintentional, but it wasn’t a prevalent issue.
Where Kril finds himself by the end isn’t one of those overdone happy endings, but instead a far more complicated place that feels true to some of the game’s more dour themes
The combat should feel familiar for anyone who has played one of these hard 3D action games. It has mechanical mainstays, such as dodges, blocks, and parries, but where Another Crab’s Treasure distinguishes itself is through the use of shells. Since Kril has lost his shell, he can use miscellaneous objects found throughout the ocean as a replacement, so he’s able to equip anything from soda cans to sushi rolls and even party poppers. Each shell has its own defense value and other various stats, like increased physical or skill damage, along with a special move that you can use in combat. These special moves can be a projectile attack, like the fizz from a soda can, or a status effect like an electrically charged can, which deals damage when you get hit. Crucially, these shells break frequently, forcing you to adapt based on which shells are available nearby.
Each shell has an armor meter of various sizes, which is reduced each time you block or take damage. Unless you unlock and execute the parry, your shell will always take damage during combat and break. This extra layer adds some depth to the combat, forcing you to always be on the lookout for a fresh shell when exploring levels. Even if you really like a shell, it’s only temporarily available to you, forcing you to adapt and keeping you from becoming complacent. Not being able to lock myself into a specific build let me experience far more of the options at my disposal, which kept combat fresh over the dozen hours it took to beat Another Crab’s Treasure. While you can insure a shell later in the game to guarantee you will respawn with it, this option comes late enough–and is expensive enough–that it doesn’t disrupt the dynamic or become a crutch yet also feels like a welcome option when it arrives.
Another Crab’s Treasure falls short during fights against tougher enemies and bosses. While mistakes can be incredibly costly in games like this, here they are more often than not fatal. Missing a block can easily get you stuck in an enemy’s attack string, and with tougher enemies, you can almost never take more than two hits without dying. This resulted in losing many, many fights because of one mistake. Losing because you didn’t execute a single block or parry can be extremely frustrating, especially the third or fourth time it happens against the same boss. The vast majority of my deaths came with most of my heals unused, because I lost all of my health without the opportunity to remedy the error. While generally the challenge in the game comes from there only being a little room for error, there are plenty of fights that feel like there is no room for error in a way that is unfair and frustrating.
Another Crab’s Treasure also has multiple instances of unnecessary friction when it comes to quality-of-life features. New skills can only be learned by fast traveling to a specific place, instead of just at any checkpoint, putting multiple loading screens between unlocking a new skill and getting back to the action. There is trash to collect throughout the game that can be sold for additional microplastics (the equivalent of XP), but instead of being able to quickly use these items, you are once again required to fast travel to a specific location to cash them in. The skills vendor and junk vendor are also in different areas, so doing both at once takes even longer.
While not everything in Another Crab’s Treasure is as smooth as it should be, and some unforgiving enemies take away from the joy of the intense combat, the game is a solid take on the Souls-like genre nevertheless. It brings in fresh ideas with the shell system and a focus on platforming–traditionally an afterthought in the genre. And while Kril’s journey takes an act or two to find its footing, the places it goes make the ocean worth exploring.
TikTok Ban Bill Signed Into Law By Biden, Forcing Possible Sale Of The Company
Major changes could be in the cards for TikTok. President Biden on Wednesday signed into law a $95 billion plan that delivers aid to Ukraine, Israel, and Taiwan, and also mandates that TikTok owner ByteDance must sell the hugely popular app or else it will be banned in the US.
ByteDance is now on the clock and has nine months to divest from its US subsidiary (with a further three-month extension if a deal is in the works but not yet completed). As such, any potential ban wouldn’t happen soon, and that’s to say nothing of any legal battles that could extend the timeline or lead to any other changes.
TikTok CEO Shou Zi Chew said in a video posted on TikTok (via THR), “Rest assured, we aren’t going anywhere.” Chew aded, “Make no mistake, this is a ban, a ban on TikTok and a ban on you and your voice. Politicians may say otherwise. But don’t get confused.”
“TikTok gives everyday Americans a powerful way to be seen and heard,” Chew added.
According to ByteDance, TikTok has more than 170 million users in America. Today’s news means nothing for the TikTok app you might already have installed on your phone. It will continue to work normally and any potential ban or change to the app presumably would not go into effect anytime soon.
This is all happening because US lawmakers–Republican and Democrat alike–along with other experts and officials, have said TikTok poses a potential security threat. TikTok has maintained for years that the app is not secretly a mechanism of the Chinese government and that it does not share data about US users and would not if asked to do so, according to the AP.
In 2020, Microsoft said it wanted to buy TikTok but later moved away from those plans. More recently, it was reported that former Activision Blizzard CEO Bobby Kotick was putting together a team to explore buying TikTok.
Keep checking back with GameSpot for the latest.
Ubisoft Has Ideas For Another Assassin’s Creed Basim Story
Ubisoft developers have confirmed they have more ideas revolving around Assassin’s Creed Mirage protagonist Basim, but reiterate that the game is a standalone experience.
In a Reddit AMA, several Ubisoft developers answered questions about Assassin’s Creed Mirage and the future of the franchise. “We’re thrilled by the reception of Mirage! Mirage [has been designed] as a standalone experience without any [DLC planned],” explained creative director Stephane Boudon. “However, we have ideas on how we could extend the story of Basim, surely. But as of today, no post-launch content is planned for Mirage.”
It’s unclear what kind of way Basim could appear again. While Boudon said that there are no plans for Mirage DLC, that doesn’t rule out something like a direct sequel or a cameo in future Assassin’s Creed games.
Ubisoft had a past promotion with Twitch where players could earn in-game rewards through Twitch Drops by watching support streams. One such reward was Basim’s sword from Assassin’s Creed Valhalla. Boudon said that the sword will be available through Ubisoft Connect at a later date without the need for a Twitch Drop.
One user asked if non-lethal knockout options will be added to Mirage in the future, and Boudon answered that they won’t be. However, that’s something that Ubisoft’s development teams could consider going forward.
Ubisoft is currently working on multiple Assassin’s Creed projects. One of them is Codename Hexe, which reportedly will let players pocess and control a cat.
Assassin’s Creed Mirage is now available on PC, PlayStation, and Xbox. In GameSpot’s Assassin’s Creed Mirage review, we said, “Assassin’s Creed Mirage’s focus on social stealth and detective work makes for a compelling dive into ninth-century Baghdad.”
Apple’s $3,500 Vision Pro Headset Has Reportedly Been Met With Low Demand Since Launch
The Apple Vision Pro–a $3,500 mixed-reality headset–reportedly isn’t selling too well and demand for the high-tech device is lower than expected, according to Apple analyst Ming-Chi Kuo (via IGN). This has reportedly led Apple to make big production cuts, and it has been suggested that demand for the device has been weak in the US.
Apple has cut its Vision Pro shipments to 400,000-450,000 units, according to the report, and Ming-Chi Kuo has speculated that the company may not release a cheaper Vision Pro model in 2025. It has been claimed that Apple is predicting a year-on-year decline for the headset in 2025. “The challenge for Vision Pro is to address the lack of key applications, price, and headset comfort without sacrificing the see-through user experience,” Ming-Chi Kuo wrote.
When it first launched, critics praised the impressive hardware inside of the Apple Vision Pro while highlighting some serious shortcomings. The high price was the most obvious point of criticism, but the mediocre battery life, lack of killer apps on launch day, and performance bugs emphasized how Apple was catering to a niche audience of technophiles. Critics did agree that the Vision Pro provides a tempting peek into the future of mixed-reality computing, but one that is overshadowed by more affordable alternatives.
In other virtual reality news, Sony revealed back in February that it’s planning to add PC compatibility to its PlayStation VR2 headset later this year.
Sand Land Review – Tanks A Lot
The main character in this open-world action-RPG adaptation of the late Akira Toriyama’s Sand Land is arguably its egg-shaped tank. Developer ICLA has crafted a game with a heavy emphasis on vehicular combat and traversal, which is a fitting design choice considering Toriyama’s love and passion for anything with a motor. You only have to glance at the number of vehicles featured in the Dragon Ball series to appreciate the legendary artist’s vehicular love affair. As iconic and instantly recognizable as Toriyama’s character designs are, his unique vehicle designs are just as evocative and essential to his signature world-building. Whether it’s a car, scooter, hovercraft, or airship, Toriyama’s anomalous designs are a delight, and Sand Land’s bulbous tank is one of his best, mixing his characteristics with historical influences to create a memorable piece of machinery. ICLA’s Sand Land might lack substance beneath its oozing style, but sitting behind the cockpit of some of Toriyama’s intricately designed vehicles is a near-constant treat, even if it falters elsewhere.
The first half of the game’s story is a faithful retelling of the original 14-chapter one-shot manga released in 2000. Set in the titular wasteland, Sand Land centers on a desert world suffering from an extreme water shortage, where sci-fi, fantasy, action, and comedy intertwine. You play as the rambunctious pink-skinned demon prince, Beelzebub, a video game-obsessed fiend who’s as good as gold despite his protestations otherwise. Alongside the stern-faced Sheriff Rao and your wise old pal, Thief, you embark on a quest to uncover a rumored water source that will hopefully restore Sand Land to life. The second half of the game’s narrative covers the brand-new events featured in the recently released anime adaptation. While the first six episodes of the show rehash the familiar ground of the manga, the last seven episodes function as a sequel to the original story, with Toriyama conceptualizing a fresh tale that sees Beelzebub, Rao, and Thief embroiled in a lopsided war after venturing into the neighboring Forest Land.
Sand Land might not be as popular as Toriyama’s other works, such as Dragon Ball and Dr. Slump, but despite its niche nature, its recent resurgence isn’t without merit. The characters and world-building found in Sand Land are its greatest strength, and these elements are seamlessly translated into the game. The relationship between Beelzebub, Rao, and Thief is just as charming as it was on the page, while the game’s open world gives their conversations and banter space to breathe as you travel between locations. These moments excel when pulling lines straight from the manga, but pockets of incidental dialogue have a habit of repeating over and over again, which quickly becomes grating to the point where I wish I could’ve muted it completely.
Fortunately, the story itself is well told, meshing a whimsical child-like wonder with more profound explorations of prejudice, trauma, corporate greed, and the ecologism that exists in a world ravaged by humans. One of Sand Land’s main themes is a self-reflective notion not to judge a book by its cover, and Rao’s backstory focuses on the horrors of war and genocide and how they can still impact people decades after the fact. The entire core cast of characters is also well-layered, informed by their past lives while learning and growing as they unearth more information about the world and each other. The plethora of optional side quests tend to be verbose, even when their contents aren’t particularly interesting or original. Some of these tales do at least expand on Toriyama’s world-building, though, showing how regular people live and survive in the harshness of Sand Land’s vast desert landscape.
Aside from its narrative, another area where the game captures one of the manga’s core aspects is its focus on imaginative vehicles. You have access to various two- and four-wheeled machines that can be swapped on the fly as you traverse Sand Land’s open world. The iconic tank is the star of the show, sputtering fumes from its exhaust pipes as its undulating treadwheels glide over the sand; it’s surprisingly nimble despite its bulky frame, lending combat a sense of fluidity as you dodge incoming fire and pepper enemy tanks with your own booming cannon. You also have access to a secondary weapon–typically something automatic like a Gatling gun–that can be used to dispatch foot soldiers and some of the smaller beasts you’ll encounter. This creates a satisfying flow to combat as you swap between weapons while one is reloading and outmaneuver your enemies using the tank’s speed boost and inherent agility.
Customization is a significant part of the experience, allowing you to swap out either of the tank’s weapons with new and upgraded parts. There isn’t much variety in how these weapons handle, however–one cannon might fire slightly faster than another or inflict burning damage, but they still feel very much the same. Crafting new parts is also overly cumbersome, as the game doesn’t let you compare what you’re building with what you currently have equipped. Enemies scale to your level, too, so there isn’t a tangible sense of progression, even as you install new parts with higher damage output. This is disappointing and takes away from the customization’s potential. Even so, Sand Land’s tank-based action is still fun, with rewarding shooting, despite a lack of evolution. Additional cooldown-based abilities–of which you can equip one–add another element to combat. These can be focused on defense, granting you extra armor or an interception system that shoots down incoming missiles, or they can be more offensive abilities like an explosive laser or an outrigger that locks the tank in place, allowing you to rapidly fire the main cannon while stationary.
Additional vehicles include a motorbike, hovercar, dirt buggy, and jump-bot, among others. Each has its own set of weapons for use in a pinch, but these vehicles are primarily focused on traversal. The motorbike, for instance, is the fastest way to get around Sand Land’s open world, to the point where it can cross quicksand without sinking. The jump-bot, meanwhile, is a lumbering two-legged machine that lets you leap great heights to navigate the game’s various platforming sections. You might try the motorbike’s shotgun or the car’s guided-missile system in combat, but considering you can just swap to the tank at any time, the other vehicles feel superfluous once bullets start flying. The Battle Armor you unlock towards the end of the game is the only exception, mainly because it lets you uppercut enemy tanks into the air.
When you’re not piloting one of these vehicles, Sand Land takes a notable dip in quality. Being a demon prince, Beelzebub is no slouch when fighting hand-to-hand. There’s a typical mix of light and heavy attacks, plus a dodge, and you can unlock both passive and active abilities for Rao and Thief, including a personal tank Rao will pilot to help you out. Not that you’ll need much assistance. Sand Land’s melee combat is simplistic, with a string of light attacks all that’s required to defeat most enemies. Sometimes you’ll need to dodge incoming attacks–telegraphed by your opponent glowing red–and Beelzebub has a few unlockable abilities for dealing extra damage to more formidable enemies. Fighting multiple threats at once is its greatest challenge, only because there’s no way to swap between targets when locked on, resulting in an awkward back and forth. It doesn’t take long for this ponderous dance to grow stale, with the only saving grace being that melee combat isn’t too frequent.
The same can be said for Sand Land’s rudimentary stealth sections. Trial and error is the name of the game here, with an instant fail state present whenever you’re spotted. Fortunately, these clandestine moments are straightforward enough to navigate without attracting prying eyes. The main issue is that your crouched movement is slow and monotonous, offering a change of pace that wasn’t desired. Stealth also tends to occur in samey military bases, which is also an issue elsewhere. You’re forced to traverse the innards of near-identical crashed ships multiple times throughout the game, which only adds to the inane repetition of its stealth and melee combat.
The abundance of side quests are similarly bland, often tasking you with killing a certain number of enemies to either save someone or acquire crafting materials. Sometimes, you might have to search ancient ruins for a specific item or win one of the desert races, but you’re mostly just repeating the same tasks for different reasons. Most of these quests revolve around the town of Spino and your efforts to make it somewhere people would want to live. You’ll complete quests for the likes of traders and farmers that lead to them joining the town and gradually growing it throughout the game. The quests themselves might be dull, but watching the town’s progress is rewarding, especially when it comes with the convenience of putting everything you need in a single hub. It’s just a shame the process behind the town’s resurgence isn’t more engaging.
The story behind Sand Land’s creation is funny but also sad in a way. Toriyama initially made Sand Land for his own personal enjoyment, devising a short story about an old man and his tank. However, the tank proved more challenging to draw than expected, and since Toriyama stubbornly insisted on drawing everything himself, he came to regret the idea. He persevered anyway, eventually releasing the manga for public consumption, and his pain was certainly our gain. Toriyama’s love of vehicles shines through in Sand Land and is where its most enjoyable moments reside. It’s disappointing that it flounders in other areas, particularly when it comes to stealth and melee combat, but ICLA has still managed to capture the heart and spirit of the original manga through its story, characters, and vehicular combat and traversal. Sand Land is bittersweet in many ways, but it’ss a testament to Toriyama’s talents as both an artist and storyteller that, despite its numerous flaws, it’s still worth playing.