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Unread postby recoil » 31 Jan 2013 08:07

zwei.jpg


http://tangogameworks.com/project/index_en.html

Our latest project's codename is "Zwei" and it is a survival horror game.
The above image is a collage of different environments we put together for this announcement and is intended to give a feel for the tone and the direction the production is taking. (However, neither the code name nor the image is intended to tell you exactly what is in the game.)

As a master of the 'survival horror' genre, Shinji Mikami is committed to making a game that is the realization of pure survival horror, an experience which he defines as one that pushes the limits of fear and exhilaration. He and his team at Tango are committed to attaining this vision.
Last edited by recoil on 19 Apr 2013 17:38, edited 1 time in total.
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Unread postby Some guy » 19 Apr 2013 16:27

Project Zwei revealed as The Evil Within, out 2014.
http://www.vg247.com/2013/04/19/project ... il-within/

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Trailer: http://www.youtube.com/watch?&v=Zc-jvqJV4SI

Stace Harman wrote:Bethesda today announced The Evil Within, a survival-horror title from Tango Gameworks led by Resident Evil creator, Shinji Mikami.

A live-action teaser trailer was first unveiled on IGN, showing all manner of twisted and misshapen nightmares.

In a statement sent to VG247, Bethesda revealed that The Evil Within is in development for PS3, Xbox 360, PC and next generation consoles and is expected some time in 2014.

Said Mikami, “We’re incredibly proud to announce The Evil Within. My team and I are committed to creating an exciting new franchise, providing fans the perfect blend of horror and action.”


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Unread postby mothmanspirit » 19 Apr 2013 19:36

http://www.neogaf.com/forum/showthread.php?p=54556179

Dusk Golem wrote:So been working on the Japanese press release with a Japanese friend. The details pulled from it:

-The game stars a man named Sebastian and his partner, who go to investigate the scene of a mass murder, but where a mysterious force is at work. Sebastian watches as more and more of the police force get killed before his eyes, and is attacked and knocked out. When he comes too, he must fight a world where monsters roam free and death and insanity live side-by-side. He will face unimaginable horrors where he must fight for his own survival. To discover the truth behind the force that lurks here, Sebastian must embark on a journey brimming with horror.

-Uses the ID Tech 5. They say they are taking the engine a step further than it has ever been used and are utilizing a state-of-the-art lighting engine and a much more powered-up version of the engine than any game to date has used.

-Game is trying to strike a balance between horror and action, but in the sense that one should be desperately struggling to survive and facing scenarios of unimaginable horror. They say they want to redefine horror, and seem to be going for a more difficult and intense experience.

-The game promises to have limited resources and be full of puzzles and traps. They want to fill the player with anguish, tension, and anxiety and send them off the deep end.

-They make a focus that enemies can easily kill the player, you’ll have to be cunning and evasive to survive in these harsh conditions. You also can utilize traps enemies set-up for you on them instead.

-It seems the player can experience random distortions that can happen in any area at any time, which changes anything from enemies, doors, walls, objects, or the like into terrifying nightmares that our character sees. These are random and change in real-time as well, it seems.

-They finish off saying that they want the game to start strong and continue with a growing feel of insecurity to grow as the game goes on. They also mention the game will have an in-depth world, and that you’re being hunted by something mysterious and dark.
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Unread postby El Chaos » 20 Apr 2013 00:27

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Unread postby David » 22 Apr 2013 16:21

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Unread postby Ryusenshi » 22 Apr 2013 20:32

http://www.jeuxvideo.com/news/2013/00065178-the-evil-within-interview-de-shinji-mikami.htm

An interview of Shinji Mikami (in French). It says little new about the game, except for the following.

  • The main character, police inspector Sebastian, will have two colleagues, one male named Joseph who has Japanese origins, and one female, a younger one nicknamed Kid.
  • The game is also being developed for the next console generation. Mikami says they "intend to take advantage of the new machines' hardware to heighten the horrific experience (...) including the obvious improvement of graphics."
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Unread postby ksevcov » 24 Apr 2013 06:30

http://www.ign.com/articles/2013/04/22/ ... first-look

If anyone can restore essence to the genre, Mikami can. The characteristically subdued Resident Evil creator is returning to his old stomping ground with the debut game from his Tokyo-based studio Tango Gameworks, the third-person survival horror The Evil Within. And while the game may not adhere to all the ideals we recognize from the genre’s golden age – which, let’s face it, were shakily defined in the first place - it’s built around Mikami’s own definition of the genre he helped create.

“There are a lot of survival horror games nowadays, but the thing that I want to focus on is having the perfect balance between horror and action.”

That perfect balance, in Mikami’s opinion, is what makes ‘pure’ survival horror.

The Evil Within certainly has the set-up to deliver on Mikami’s promises. Its premise is a cliché, but it would be misleading to suggest the game is; the poster for The Evil Within plastered around the colourful walls of Tango’s office depicts a brain wrapped in barbed wire. It’s in this image that its mental asylum spookhouse setting develops new meaning, one more sinister than the threat of things that go bump in the night.

“Thematically, it’s less about having twists and turns and more about maintaining an air of mystery,” explains Mikami. “So through the story you learn a little bit more, and then a little bit more, but the more you learn, you also realize there’s far more mystery out there to unfold.”

The game’s prologue sets up protagonist Sebastian, a chiselled but otherwise nondescript detective called in to investigate a homicide at an inner-city asylum. He and his colleagues – a man called Joseph and a female detective they simply address as ‘Kid’ – arrive late to the scene. The parking lot is littered with police cars. The asylum, all Gothic architecture, looms. The cars are empty, Sebastian notes. There are no signs of violence but every single car is empty.

Like Mikami’s last foray into the genre, Resident Evil 4, The Evil Within is deeply cinematic, but while RE4 was presented in 16:9 (letterboxed on the GameCube within a 4:3 frame), The Evil Within has a true cinematic 2.35:1 aspect ratio, resulting in a low-sitting camera which displays an enormous amount of the environment at any given time. The camera, naturally, sits over Sebastian’s shoulder.

“We’re paying a lot of attention to the theatrical and cinematic aspects of the game,” says Mikami. "We want the game to be scary so we want to support that throughout the game experience, but we don’t want to go so far as to impact on the flow of gameplay. We want the controls and the way players interact with the controls and the game to feel scary and cinematic, but not cumbersome. So once you get on more of the action elements you want players to focus on that. So you’ll see something of a wave, you’re drifting from one end to the other end – from cinematic elements to purely gameplay elements and back and forth.”

Venturing into the asylum’s vast, high-ceilinged lobby, someone remarks that the place “smells of blood.” Bodies of cops, doctors and patients slump on chairs and against walls. Sebastian makes his way into a video surveillance room, where a wounded doctor mumbles something I half missed (although I have a feeling that was the point), “it was him, it couldn’t be,” perhaps. Peering at the screens, Sebastian sees a hooded figure slaughtering helpless police; suddenly, the figure appears behind Sebastian, and he’s knocked unconscious.

It’s here that The Evil Within proper begins, and I start to gain an understanding of the kind of game Mikami is weaving together: confrontational, gore-soaked and rooted in madness; although whose madness exactly is part of the intrigue. It’s recognizably survival horror, but delivered with a wealth of detailing realized in a heavily modded id Tech 5 engine which Art Director Naoki Katakai (Resident Evil Remake, Okami, Vanquish) calls “Tango-stylized.” We see every spot of blood, every severed intestine with garish clarity; beautifully disgusting.

When Sebastian wakes up, he’s hanging upside down in a meat-locker, the lair of a madman, surrounded by victims of a similar fate. A giant, hulking butcher in a stained wife-beater and apron lumbers in and cuts down one of Sebastian’s hanging fellows, dragging him off to a well-worn butcher’s block to gut him with an indelicate squelch. The scene is immediately otherworldly, a decrepit, blood-splattered alternate asylum lit by a flickering fluorescent bulb, too at odds with the game’s previous environment to be in any way grounded in ‘reality’.

“The mental hospital is a really important key word for us,” says Katakai. “It’s one of the many stages that we have, but it’s one of the more forward facing, symbolic areas. It’s really important to us to design and realize that as a playable area. Visually the sense is that it’s inside of a metropolitan area but it has a feel that it could be urban or maybe rural with some sort of history associated with it. Having said that, through the course of the narrative, it may take on different faces. It may look different ways or have different aspects that come to the fore in depicting what this place is.”

What happens next is a striking example of Mikami’s grasp of tension; Sebastian must avoid the giant in a long, drawn out, silent bid for freedom.

“The way the player moves is very important," explains Mikami. “Obviously you’re going round in this environment, but when there are enemies nearby the character becomes very alert, and that’s when you start sneaking and crouching, you can run as well; but depending on whether there’s monsters out to get you or whether you feel safe, the variety and range of motions change, the animations change.”

It’s when Sebastian accidentally trips an alarm in the corridor that the tension breaks, as the alerted butcher bursts onto the scene brandishing one of Mikami’s trademark weapons, a chainsaw. Our protagonist runs from the encroaching rattle at an awkward gallop, all arms flung behind him, far from graceful. His very human physicality evokes former survival horror everymen – a Harry from Silent Hill or a Leon - and crucially, encourages us to see him as vulnerable.

“It’s much harder to scare players these days,” says Producer Masato Kimura. “We hope to overcome that, or address that by having a more immersive experience, we want you to identify with the protagonist, with the main character, we want you to feel what he feels. When he’s scared we want you to be scared. When he’s excited we want you to have the same feeling. We’re hoping we can address this and represent this in a way you don’t see in other games.”

When the fiend doesn’t know where Sebastian is, its movements are erratic and unpredictable; when it spots him, Sebastian must either run or get a chainsaw to the neck (an outcome that Tango kindly demonstrated for us). It’s tense, so tense that when Tango’s representative tries to demonstrate how Sebastian can interact with his environment by throwing an empty bottle to distract the monster, he screws it up; the bottle smashes against the monster itself and it carries on with its relentless search. The rep curses, and laughs. There’s no hiding now; Sebastian must race to literally save his neck.

Unsurprisingly, this particular sequence ends in a frenzied sprint towards freedom; right after Sebastian leaps into an elevator and safety, the asylum itself begins to crumble around him. He limps past the rusted frames of forgotten gurneys and ancient wheelchairs – the abandoned hospital trope puts us very much in Jacob’s Ladder territory here – runs through the lobby, and opens the door to a devastated cityscape. Police cars lie upside down in a giant crater, and the carnage stretches as far as the eye can see. The prologue ends.

“It’s just my personal opinion,” says Mikami, “but I’m the type of person, I’m the type of creator that when someone says ‘that’s what I do, that’s my personal thing’ I want to do something different. I’ve done a lot of different things; I’ve done a lot of different kinds of games in my career, but really it always comes down to that – I want to overcome people’s perceptions of me.”

The second half of our demo dumps Sebastian alone in the dark outside as he makes his way towards an old abandoned cottage. There is no context for where he is; it’s a section intended to demonstrate the ‘action’ part of Mikami’s central pillar. We’re yet to see anything on the HUD, save a single sliver of a health bar at the bottom of the screen, but interactive elements are marked with on-screen prompts. Sebastian has a gun: when he draws it, a small weapon icon shows a limited amount of ammo; a gesture of defence, really.

“We’re not giving the player really any extraordinary powers,” says Mikami, "but we don’t want to go in the opposite direction and not give them any means of fighting back – that would violate the rules of survival horror. So we’re looking at appropriate types of weapons with a limited amount of ammunition in order to get them through... if they’re good.”

It’s in this cottage that Sebastian encounters what I can only assume are The Evil Within’s more garden-variety enemies, if such aberrations could be labelled as such. Zombie-like, they shamble towards him with blind bloodlust, but they’re a more unearthly kind of undead; of the first two that Sebastian encounters, one is wrapped in barbed wire, and the other peppered with glass shards. Physical manifestations of their own mental torment, perhaps.

“With most of the enemies in the game,” explains Katakai, “an important design concept is that they are always victims. Even when they’re evil creatures, there are greater evils still that are impacting on them or causing them to suffer.”

Like the asylum, the decrepit cottage presents a very linear, labyrinthine environment, although Katakai promises that the game will open up later on.

“Overall we have both very narrow, confined spaces and larger, wide open spaces – a variety of different types of environments. The idea is to have a wave where the player builds up a lot of tension and feels very claustrophobic and set upon and then they break through that tension and things open up and they feel a sense of relief. Then to repeat that cycle. Also, having narrow stages and having more open stages, it provides more opportunities to have enemies come out in unexpected ways or in unexpected places.”

In this instance, a wave of enemies – moving in a slow and purposeful flock very much in the spirit of Resident Evil 4’s Los Ganados – approach Sebastian from outside. Our Tango representative selects a mine trap from his inventory, which Sebastian lays down by the doors; the rest of them are taken care of via handgun as they try to clamber through the windows. Headshots explode brains with a satisfyingly meaty splat.

Of course, such straightforward run n’ gun gameplay is far too pedestrian for Tango, and it’s here that we are offered a tantalizing glimpse of what Mikami believes will be The Evil Within’s game-changing feature. Without warning, Sebastian’s environment suddenly switches; but not so dramatically that I was sure it wasn’t a glitch, or that I hadn’t, in a split-second, missed something vital. Sebastian traces his steps back, the all-knowing Tango representative mimicking the confusion new players will likely feel. Where did I just come from? What just happened? Where’s the exit? Before we get an answer, a wave of blood tumbles down the corridor and envelops our bewildered protagonist; a set-piece straight out of The Shining. When Sebastian ‘comes to,’ he is back in the asylum.

“It’s a fundamental setting in the game," says Mikami. “It’s what’s going to make the game stand out and really be unique. It’s going to make The Evil Within what it is.”

While Mikami didn’t want to provide context for me for fear of spoilers, he did explain that the inspiration for the strange switches in space came from the infamous Winchester House, the architectural oddity that was under construction for 38 years under the unhinged eye of Sarah Winchester.

“It has doors that open up and suddenly there’s a dead drop or stairs or something like that. It otherwise looks normal but suddenly things change in an instant and you don’t know what to expect.”

It’s clear that the developers are aiming for a careful balance of not only action and horror, but of the old and the new, weaving classic survival horror tropes with new and interesting psychological horror features. And it’s all wrapped up, of course, in a state-of-the-art package (on both current and next-gen technology), resulting in a game that has that Resident Evil-era Mikami vibe, but feels much, much richer overall.

“15 or 20 years ago, characters in video games were walking around like robots, and the games were very linear, but now you’re able to put in a much greater detail into the character and it really adds to the immersion,” says Mikami.

"You don’t require the player to use their imagination as much as you had to in the past. You’re able to show things on a much more granular level. A much finer level of detail. And make things feel that much more visceral to the player. You’re able to impart a much greater sense of space and able to use lighting to your advantage much more than you were able to in the past.”

Our demonstration ends with a glimpse at a new enemy, which - fittingly - throws up further questions pertaining to the nature of this world and its inhabitants. It's a giant, multi-legged, multi-armed wraith that explodes from a fountain of blood and rushes towards Sebastian at a breakneck clip. As the code resets to the title screen, everyone in the room laughs nervously. It’s an appropriate reaction to such a relentless 25 minutes. While Mikami acknowledges that it’s harder to scare people these days, that laugh says it all.

“Horror as a genre has a set number of patterns, and the more time you spend with those patterns the more you get used to them. And the more used to those patterns a person is, the harder it is to scare them and do something above and beyond and original.”

He lifts up the brim of his cap slightly.

“If players say 'I haven’t played a game this scary in a while,' that would make me the happiest.”
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Unread postby movie » 29 Apr 2013 05:04

http://www.relyonhorror.com/latest-news ... s-surface/

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Unread postby El Chaos » 29 Apr 2013 18:29

I just checked Tango Gameworks' Japanese site. Yes, the Japanese title for the game is Psycho Break: http://psychobreak.com/
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Unread postby David » 28 May 2013 20:08

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Polygon preview:

Tango Gameworks' The Evil Within will dabble with the supernatural, the gory and the nerve-rackingly suspenseful, based on a demo shown to Polygon at a recent pre-E3 event.

The game, led by developer Shinji Mikami, who is best known for his work on the Resident Evil series and Vanquish, aims to be a "pure form of survival horror," Mikami said in a recent interview in Famitsu. Rather than focus on action, Mikami wants The Evil Within to be more horror-oriented with "a creeping sense of terror."

In the first 15 minutes of the game demoed to Polygon, the tone of The Evil Within was set through a series of gory cutscenes, eerie corridors and the main character's supernatural visions and teleportation to zombie-filled places. The game opens with detective Sebastian Castellanos arriving at an asylum where a massacre has apparently taken place. Upon arrival, Castellanos notices that all the police cars at the scene are empty and there is no one in sight. He enters the asylum to find bloodied corpses all over the floor. Making his way to a room with screens showing footage from the asylum's security cameras, he sees a ghost-like creature on screen who can teleport and turn invisible. This creature proceeds to gruesomely murder the police officers who had arrived earlier. The demo then flashes to a scene where the camera switches to the first-person and Castellanos is hanging upside down next to battered and beaten corpses, while a deranged butcher stands in an adjacent room dismembering body parts.

The player, who is controlling Castellanos, must free himself from the ropes and, switching back into the third-person view, sneakily steal a set of keys from the butcher and escape the asylum. These early moments in the game — which exhibit influences from other survival horror titles like Silent Hill — are tense and fear-inducing, especially when the player is chased by the butcher and has to hide inside lockers and behind walls in the hope of not being discovered. The suspense is compounded by the game's use of music and silence. In parts of the asylum, the rooms are so quiet that the player can only hear the character's footsteps.

Speaking to Polygon, Tango Gamework's producer Masato Kimura said the game instills in the player a sense of uncertainty, and it is this "subtle, anxious, shapeless, unknowable sort of fear" that the game developers want to invoke. Players don't immediately understand why there is a human butcher in the basement of the asylum, they don't know who or what brutally murdered its inhabitants, and Kimura says that this lack of understanding is what feeds some of that fear.

Upon escaping the asylum, players find that the city surrounding the building has collapsed, and where the police cars once parked in the asylum's driveway, they are now at the bottom of massive pit. Buildings in the distance have fallen and are crumpled.

According to Kimura, the game will take place in different locations. Referencing the collapsed city, he said the studio is not making a "typical survival horror" — instead, it is "trying to add those things [like a collapsed city] to make a unique universe."

The demo we were shown ended in a Resident Evil-like scene with Castellanos being transported to what appeared to be an abandoned cabin in the woods. Here, he faced hordes of zombies and had to take them out with whatever weapons he had, as well as strategically laying down traps and bombs to manage the zombie horde.

http://www.polygon.com/2013/5/28/4363210/the-evil-withins-first-15-minutes-sets-a-spooky-and-suspenseful-tone
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Unread postby ksevcov » 13 Jun 2013 12:48

Interview with Bethesda vice president Peter Hines, contains play footage:
http://www.gametrailers.com/videos/py1q ... or-returns
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Unread postby Some guy » 03 Aug 2013 22:48

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Unread postby movie » 06 Aug 2013 13:37

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Unread postby ksevcov » 17 Sep 2013 18:48

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Unread postby Dolt » 27 Sep 2013 17:02

Prologue and Perth House level play footage, 12 minutes:
http://www.youtube.com/watch?v=Eirc-dFzVcw
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Unread postby movie » 05 Jan 2014 01:41

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Unread postby ksevcov » 14 Feb 2014 21:09

http://www.bethblog.com/2014/02/14/the- ... in-august/

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Announced today, we’re happy to share news that The Evil Within, the new survival horror game from Tango Gameworks (led by Resident Evil’s Shinji Mikami) will release on Tuesday, August 26th in North America and three days later (August 29th) in Europe.
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Unread postby icycalm » 14 Feb 2014 22:04

The PC box is the coolest one. Not only is it the cheapest and most scalable version, but you also get the most cover art lol.
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Unread postby Some guy » 09 Apr 2014 16:21

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Unread postby ksevcov » 18 Apr 2014 04:35

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Unread postby movie » 27 May 2014 14:16

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Unread postby ksevcov » 27 May 2014 18:34

http://gematsu.com/2014/05/evil-within-delayed-october

The Evil Within, originally planned for release in August, will now launch for PlayStation 4, Xbox One, PlayStation 3, Xbox 360, and PC on October 21 in North America, October 24 in Europe, and October 23 in Australia, Bethesda Softworks announced.

“Shinji Mikami and his team at Tango Gameworks have asked for additional time to further balance and refine the game in order to deliver the polished, terrifying pure survival horror experience they set out to create,” Bethesda said in an e-mail.
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Unread postby ksevcov » 18 Jul 2014 05:20

http://gematsu.com/2014/07/evil-within- ... week-early

The Evil Within, previously dated for the week of October 21, will now launch a week earlier, on October 14 in North America, October 17 in Europe, and October 16 in Australia, Bethesda Softworks announced at QuakeCon.
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Unread postby El Chaos » 10 Aug 2014 01:28

http://psychobreak.com/sp/

Seems like the Japanese version of the game will be censored in order to get a CERO D rating, and pre-orders of the game will get a card with a code for a DLC that will enable the Z-rated "gore mode", along with the soundtrack CD.

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Unread postby infernovia » 17 Sep 2014 04:20

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