Arizona Sunshine (2016), the room-scale zombie shooter adventure, already got its first campaign DLC on Oculus Rift, Vive & Windows “Mixed Reality” VR headsets on May 24th, dubbed ‘Dead Man’ DLC. The single mission campaign, which was previously targeting a June release on PSVR, is now pushed back to July.
Update (06/20/18): Vertigo Games and Jaywalkers Interactive recently released word via a Facebook post that Arizona Sunshine’s Dead Man DLC for PSVR is now due for a July launch. The DLC, which is a prequel to the series, will be on offer for $2.50. The studios said the delay is due to an unspecified “technical challenge,” that has since been solved.
The original article detailing Dead Man DLC follows below:
Original article (05/04/18): Dropping you in a zombie-infested US missile base, you’re tasked with containing the fresh zombie outbreak. Assuming the role of Dockson, a US Army Special Forces corporal, your mission is to launch a nuclear-warhead loaded missile to clear the base, and of course dispatch all of the zombies between you and the launch silo.
Arizona Sunshine: Dead Man DLC is already on Steam, and will be available for $2.50.
The single mission campaign takes place before the events of Arizona Sunshine. Just like its predecessor, it boasts both single player and online co-op for up to two players.
To boot, there are also three new weapons: a fully automatic submachine gun, a two-handed shotgun and a tactical handgun. Dead Man DLC features various difficulty levels including Apocalyptic Mode, something Vertigo Games says is “insane.”
Dead Man DLC also includes new masks and “a couple of light customization options” as well. Six new achievements will also be available for the rabid completionists out there.
Launched initially on Daydream in early 2017, and now available on Gear VR, Oculus Go, and Oculus Rift, Virtual Virtual Reality’s smart interaction design gives players freedom and control which—combined with a narrative tying it all together—makes Virtual Virtual Reality one of the most immersive mobile VR games to date. This guest article by Mitch Mastroni, Interaction Designer at Tender Claws, the studio behind the game, explores how the game achieved significant immersion even on more restrictive mobile VR headsets.
Guest Article by Mitch Mastroni
Mitch Mastroni is an Interaction Designer at Tender Claws, where he handles all aspects of systems design and programming across both VR and AR experiences. He pulls from his background in performance art—ranging from improv comedy to jazz percussion—to create compelling interactive experiences. He holds a B.S. in Computer Science: Game Design from UC Santa Cruz, where he developed the 2016 IndieCade finalist Séance. You can find him in the corner of a networking event, waxing poetic about theme park design.
Our game Virtual Virtual Reality is a comedic adventure that is both love letter to VR and playful commentary on the tech industry. Players are welcomed by their manager Chaz to Activitude, a virtual service where humans are tasked with assisting AI clients. These AI, which appear in various forms ranging from a tempermental artichoke to a demanding stick of butter, have increasingly bizarre requests for the player to perform. The story unfolds as the player travels between virtual realities, diving deeper and deeper into the machinations of Activitude.
If you haven’t had a chance to play Virtual Virtual Reality, check out the trailer below to get a taste of the game, which also recently launched on the Oculus Rift:
Object Interaction: The Leash
When players pick up objects in Virtual Virtual Reality, they see a curved line connecting their VR controller to the object in question. This ‘leash’ is the only tool that players have at their disposal for the full duration of the game. All other object interactions in the game (plugging a plug into a socket, watering flowers with a watering can, etc.) are performed with the leash. Even simple interactions—like tossing a ball in the air or dragging your manager by his robotic legs—are very satisfying to perform with the leash.
The leash helps the player understand the relationship between the controller’s movement and the object’s movement. It also enhances game feel by giving virtual objects weight. Instead of instantly moving the object to the position where the player’s controller is pointing, the leash applies a constant force to the object in the direction of that position. Heavier objects will take longer to arrive at their destination and will sag the leash downwards. By swiping the trackpad forward and backward, players can also push and pull objects towards and away from themselves, enabling 6DOF object control from a 3DOF controller.
Virtual Virtual Reality was originally developed for Daydream VR and its 3DOF controller, leading us to consider control schemes found on other devices with 3DOF controllers (see this article for an introduction to 3 DOF vs 6 DOF ). We were inspired by the ‘Capture Gun’ in Elebits, Konami’s 2006 Wii-exclusive title. Elebits achieved a surprisingly intuitive use of the 3DOF Wiimote that we had yet to see implemented in any game: VR or otherwise. We were pleasantly surprised to find that the leash is also comfortable while using multiple controllers and 6DOF controllers. We designed unique visual and haptic feedback for the leash to fit each of Virtual Virtual Reality’s platforms and to leverage their respective control schemes.
The choice of the leash was also informed by the distance between players and the objects that they interact with. Early VR experiments at Tender Claws resulted in us constraining object interactions to the “mid-range.” Most objects that the player grabs are at least one meter in front of the them and and no further than six meters away. This tends to be the most comfortable range for modern VR headsets. Some players have trouble focusing on objects closer than one meter. Further than six meters away, there is no clear sense of depth and small objects are clearly pixelated. The leash closes the mental gap between the player and their object of focus, allowing that object to become an extension of the player.
World Interaction: Headsets
The most recognizable gameplay mechanic of Virtual Virtual Reality is the ability to put on and take off any VR headsets in the game at any time. Virtual reality inside of virtual reality. Yes, in fact, it is kind of like Inception.
Early into our development of the headset transition mechanic at a 2015 hackathon, we realized that the experience of taking off and putting on headsets had potential beyond a narrative framing device. We wanted players to interact with headsets as often as possible.
One key characteristic of headset transitions is that they are completely seamless without any perceivable loading time. To achieve this, every accessible virtual reality, or level, is loaded into memory before its associated headset appears. Although this required significant performance optimizations to reduce the memory footprint of each level, it also lead us to an artistic direction that reduced the workload of our artists.
We experimented with various visual transitions to reduce the jarring effect of leaving one level and entering another. Ultimately we chose a fisheye lens effect that warps the edges of the screen, paired with a single frame cut between the two levels at the peak of the warping. The fisheye effect is accomplished through the use of a vertex shader: the geometry of the world is actually stretched away from the player to emulate the familiar look.
The interaction language and logic is consistent for the VR headsets in the game. They can be picked up like any other object in Virtual Virtual Reality. To take off their current headset, the player points their controller at their head and grabs that headset. Drawing attention to the presence of the player’s real headset does not compromise immersion, in fact it reinforces their connection to the experience.
We decided that the action of moving between virtual realities should be a valid choice at any point. Any headset in the game can be picked up and put on, and at any point you can take off your current headset to ‘go up a level’. These choices are also recognized and validated by other systems in the game. For example, characters will comment on you leaving and returning to their virtual realities, which helps reinforce the relationship between the headset system and the narrative.
Localization and Subtitles
We began the process of localizing Virtual Virtual Reality into eight languages after the game launched on Daydream. The spoken and written words of Virtual Virtual Reality are central to the experience and we wanted to give more players an opportunity to comfortably enjoy the game.
The decision to use subtitles instead of recording dialogue in new languages was a matter of resources and quality control. We worked with an extremely talented cast of voice actors who recorded over 3,000 lines of dialogue to bring the characters of Virtual Virtual Reality to life. The task of re-recording and implementing that dialogue in eight additional languages was simply beyond the scope of our team. Instead, we focused our efforts on creating the best subtitle system ever conceived by god or man. Or at least by a mobile VR game in 2017.
The Virtual Virtual Reality subtitle system was designed with two guiding principles. First, subtitles should be comfortably visible at all times. Second, it should always be clear who is speaking. Neither of these are novel concepts (see the game accessibility guidelines and this excellent article by Ian Hamilton), but at the time of development there were virtually no examples of these principles being applied in VR.
The key to our approach is dynamic positioning. The subtitles are repositioned to best fit the direction that the player is looking. When the player is looking at a speaking character, the subtitles appear directly below that character. When the player is looking elsewhere, the subtitles appear at the bottom of the player’s view with an arrow pointing in the direction of the character. The arrow is particularly helpful for players who are hard of hearing. Subtitles smoothly transition between the two states so that reading is never interrupted. Scenes with multiple speaking characters utilize different colored text for additional clarity.
Next Steps
Designing Virtual Virtual Reality was an incredible learning experience for our whole team. We all have backgrounds in gaming but none of us had ever worked on anything quite like this—a dense three-hour narrative adventure in VR. We are currently working on several new projects that leverage our lessons learned from Virtual Virtual Reality and further our integration of systems and narrative. The state of interaction design ih VR has come so far in the past few years, and we’re excited to continue exploring and innovating as we create new experiences.
Successfully combining educational value with an entertaining, playful presentation, The Big Table is a VR laboratory that teaches many fundamental chemistry concepts, aimed at students aged 13 to 17. The app recently launched on Gear VR and Oculus Rift.
The journey begins in a space shuttle, docking dramatically with a high-tech space lab, giving the user a chance to familiarise themselves with the simple control system, which involves teleport locomotion and all object interactions performed with a single input. This caters to Gear VR’s limited input options and seems appropriate for this application. With the ‘untethered’ freedom of a Gear VR, the user can easily turn around on the spot, but for front-facing Rift tracking setups, you can also snap-turn with an analog stick. The whole experience can be played with a single Touch controller.
Once inside, students should find the lab visually stimulating without being too overcrowded or overwhelming; a friendly AI companion floats around, explaining the different pieces of equipment, while other AI robots trundle across the floor doing their own ‘research’. Each robot is named after a famous scientist, and can be picked up and placed in the ‘Analyzer’ for a very brief history lesson. You can place any objects in this device, which triggers the giant periodic table on the wall to animate and show the elements it contains.
Image courtesy Prologue
The lab consists of four experimental stations: the ‘Zapper’ to measure conductivity, the ‘Smasher’ to demonstrate allotropy and malleability, the ‘Converter’ to switch through phases of solid, liquid, and gas, and the ‘Igniter’ for combustion. Each station has a selection of objects to place into the equipment, and you throw the lever to see what happens. In some cases you’ll create new objects through this process, which are then added to the menu. This prompts a voyage of discovery; most users will probably want to throw every object into every piece of equipment.
Image courtesy Prologue
And satisfyingly, you’re free to do so. For example, there is a battery in the menu next to the ‘Zapper’, to show its conductivity. But there’s nothing to stop you from sticking the battery in the ‘Smasher’ instead, which makes a nice bang. Experimentation is encouraged, and the developers seem to have thought about most of the obvious combinations, but the one-handed, one-button controls means you can’t group a ton of objects together. The robots are quick to clear up any object you drop, which is a little frustrating, but it’s probably for the best. This isn’t Garry’s Mod (2004), after all.
Image courtesy Prologue
Several enormous 3D icons float way above you, which activate more audio explanations and corresponding ‘holographic’ animations about atomic theory. These are generally well-made and succinct, and are presented at a scale that would be impossible to reproduce in a classroom. Behind the floating icons, the walls are draped with vertical banners, which display ‘achievements’ for completing certain tasks. Much like the object lists at each station, some of these are hidden or locked, and have to be discovered during a thorough exploration of the lab. In some cases, these also generate more objects. For example, only once you’ve activated the achievement “light a substance on fire without the burner” will you be given some chili peppers in the Converter menu, which can then be converted into pepper spray. Your achievements and unlocks save automatically, so you can continue from where you left off if you return to the lab. There is an option to reset everything, but the app might benefit from a multiple save feature, if the same headset was being shared with several students.
The Big Table‘s simplistic visuals are clearly designed for the Gear VR, and it’s not stacked with content, but there is more than enough value here, considering the low $3 price. There is at least an hour’s worth of things to see and do as a single user, and it potentially offers a huge value if used properly in an educational setting.
With the Echo Combat open beta just around the corner, we took a few minutes to catch up with Ready at Dawn CEO Ru Weerasuriya who filled us in on the newest abilities coming to the game, how it might change prior to launch, and the studio’s commitment to VR.
With one week until the Echo Combat open beta, Weerasuriya told us about new abilities that weren’t available in the recent closed beta: the Ark Grenade which, unlike the basic explosive grenade, expands into a large sphere and acts like an EMP, stunning enemies that touch it, and giving the attacker a chance to close distance and finish off the kill. There’s also a Shield, a new piece of equipment (alongside the Repair Matrix and Threat Scanner) which deploys into a large piece of cover which can be climbed upon and also shot through (from one side only); the shield can be especially good for the defensive team as it allows players to set up temporary cover in otherwise vulnerable areas.
As for the closed beta, Weerasuriya said that it validated a lot of Ready at Dawn’s approach to Echo Combat, but with the game not coming out until later this year, he expects more will change before its final debut, even following the open beta.
“One of the things that we’re also going to do is add to the game,” Weerasuriya told me. “One goal that we always had was—especially Echo Combat—was gonna be a game that was gonna start with the closed beta with a subset of things that you had, and you see today that we’ve already added a couple more things. And the goal really is, by launch of the game at the end of the year, that we actually put something together that has more functionality, potentially more modes, but more ways to play the game. [We want to really] build this into a way where you get into the game, you play the way you want to on the map that you want to, and the mode that you want to.”
Image courtesy Ready at Dawn
Echo Combat is novel compared to other VR FPS games because of the way that weapons aren’t separate items, but are instead actually built into your suit and deploy from your hand. Weerasuriya said that the studio eventually came to this conclusion after testing a more traditional item-based approach to weapons.
“One of the very first [approaches we explored] was using weapons in your hand that you can actually equip—that means that you would hold weapons, different kinds of weapons, and you could equip them them and shoot—but then we quickly realized that it went against the idea of why our movement mechanic kind of was something that people adapted to and loved, so we decided the guns need to be integrated, they needed to actually be part of your hands,” Weerasuriya said.
Image courtesy Ready at Dawn
He told me the first three or four months of developing the game were about figuring out how players would interact with weapons. By opting to integrate weapons into the player’s hands, the grip button can continue to be used for the game’s novel zero-G locomotion which has players grabbing the environment and pushing themselves off of it. The guns even have a subtle animation where they fold slightly out of the way when you grab onto a surface, to make room for those beautiful procedurally animated hands.
Image courtesy Ready at Dawn
When Echo Combat launches, it’ll be integrated into the very same lobby where players currently go to Echo Arena matches and practice their Arena skills. And beyond the Echo Combat expansion, Weerasuriya said that the studio continues to focus on expanding the Echo universe in a cohesive way.
Image courtesy Ready at Dawn
The way he described it, it sounds like Ready at Dawn wants to expand the range of things that players can do from the single lobby space, rather than isolating players by creating content that functions as a completely new game, disconnected from what’s already available in the Echo universe. In that sense, it’s starting to sound a bit like Rec Room, which has a host of activities all under the same roof, allowing players to seamlessly have many different VR experiences without jumping between apps.
And while Echo Combat is nearer on the horizon, Weerasuriya affirmed that the studio isn’t done telling the story of Jack & Liv, the AI and human pair that are the central characters in Lone Echo (2017), the lauded single player counterpart to Echo Arena & Echo Combat, which left players with quite a cliff hanger.
“There is a lot behind the story of Jack & Liv that we want to keep on exploring. There’s more to that story, there’s more to what happens after you finish Lone Echo, there’s more to things that happen to them before,” he told me. “We’re trying to figure out how to best leverage not only the IP but what people are expecting of this in the future. We haven’t decided really yet what that truly is going to be as in like if it’s just going to be just an add-on or more. We truly hope that actually it’s going to be […] an experience that is as satisfying as the one that you’ve had in the past if not more.”
Image courtesy Ready At Dawn
In Lone Echo and Echo Combat, Ready at Dawn has succeeded in making two of the most praised titles in VR to date. With Echo Combat well underway and some sort of Lone Echo continuation planned for the future, VR has become an inseparable part of the studio’s identity, and not something they intend to stop working on any time soon.
“I think VR is an amazing medium purely because we’re learned so much in the last three years of being in VR that we can’t see ourselves kind of detaching from it, because we’d lose part of who we’ve become as a studio,” said Weerasuriya. “We’re currently exploring a lot of ideas that would guide things that we haven’t seen in VR. In the future we hope to actually address certain things that we see today that we take for granted maybe that are not possible in VR, but we’re very much looking into breaking those boundaries and seeing how we can do things that are not being done yet, and kind of move the medium forward.”
Ubisoft has announced the closed beta dates for its upcoming zero-G multiplayer VR shooter, Space Junkies, which will be available from June 28th to July 2nd with signups open to all.
First revealed at E3 2017, Space Junkies is Ubisoft’s latest multiplayer VR title following Eagle Flight (2016), Werewolves Within (2016), and Star Trek: Bridge Crew (2017). It’s the company’s first, first person VR shooter, and has so far impressed us with its fast paced zero-G action.
Today during E3 2018, Ubisoft revealed an open beta trailer for the game showing off brief glimpses of new gameplay, and announcing the game’s open beta date of June 28th to July 2nd. Interested players can sign up for the closed beta at the Space Junkies website.
Ubisoft says players can expect the following in the closed beta:
THE DIRTY BOWL
If you thought space was hostile before… just wait until you play in the Dirty Bowl! Death comes fast and hard from all directions as you speed & fight through Orbital Arenas (“Orenas”) designed specifically to kill and built to thrill!
ADRENALINE-PACKED MULTIPLAYER
You are now part of the elite Tribes of gun-slinging Spacers who battle it out in treacherous 2v2 and 1v1 battles.
GET TO KNOW YOUR BODY
Full VR embodiment allows you to use your hands and body to manipulate intuitively your environment and weapons, while full use of motion controllers brings you right into the gun-slinging action!
FULL VR NAVIGATION IN SPACE
Dodge, weave and fly through hostile space environments and 360° orbital battlefields!
Situational awareness gets vertical as opponents come at you fast, hard, up, down, sideways and backwards!
WEAPON VARIETY IS THE SPICE OF… DEATH?
Insane weapons, from Sunblasters to Bioguns, let you use different angles and both of your hands to combine your weapons of choice when stalking and taking down your opponents.
HELLO, DARLING, CAN YOU HEAR ME?
Full-spatialized audio will have you fully immersed in this explosive environment.
OUT OF THIS WORLD!
The weird and wonderful physics of micro-gravity are your Virtual Playground! From chain reactions and dynamic lighting to breakable environments, your battleground will morph based on your input!
Elijah Wood’s studio SpectreVision and Ubisoft Montreal announced Transference at last year’s E3, a VR thriller-adventure that takes into something of a virtual reality inside a virtual reality. It’s only a few more days until the game is officially released, with the highly-polished Transference hitting all supported platforms next week.
Update (September 14th, 2018): Ubisoft Montreal and SpectreVision are bringing ‘Transference’ to both VR and non-VR devices including on PlayStation VR, Oculus Rift and HTC Vive as well as on PlayStation 4, Xbox One, and Windows PC. The official release date is set for September 18th.
A playable demo is already available on PS4 and PSVR. Pre-orders are also open on the Oculus Store, Steam, PlayStation Store, priced at a 10% discount on the final $25 price tag. Here’s a few minutes of gameplay, revealed at this year’s Gamescom:
https://youtu.be/g_iUYPH3kqg
Original Article (June 11th, 2018): Transference is a psychological thriller from SpectreVision and Ubisoft that aims to bridge the gap between movies and games by blending live action sequences with rendered environments into a perspective-shifting narrative.
Taking you into the tale of a man’s obsession, you explore his digitally recreated memories, something the studio calls a “maze-like puzzle concealing a corrupted truth,” which projects you into the digital consciousness of multiple troubled case subjects, giving you the ability to influence their fate.
The experience is said to arrive sometime in Fall 2018 (see update) on PSVR, Oculus Rift, HTC Vive, PC, XBox One, and PS4. It also includes support for respective motion controllers.
Here’s a description taken from the experience’s launch trailer.
Plunge into the experiment of a troubled scientist, a corrupted digital simulation of his family formed using their collective brain data. Shift between the three perspectives of a family and unravel the mystery hiding in this mind-bending psychological thriller.
TheWaveVR, the social VR music platform, and electronic music group The Glitch Mob are collaborating to launch a new interactive VR version of the band’s third and latest studio album, ‘See Without Eyes’.
The interactive VR album will take users on what TheWaveVR calls “a VR odyssey of shifting dreamscapes choreographed to a 20-minute custom mix of the album. As users fly through several environments, they can interact with each other as well as become part of the visuals.”
The experience, which will be free, launches Thursday, June 21st at 7:00 PM PT (your local time here).
The show will be available globally for Oculus Rift and HTC Vive users through TheWaveVR app, available on the Oculus Store and Steam, and will be broadcast live on TheWaveVR Facebook page. After the live version of the show is complete, users will also be able to experience a looped version of the VR album.
“TheWaveVR and Strangeloop Studios have masterfully crafted a new dimension to the album, and we’re beyond excited for people to take the ride. ‘See Without Eyes VR’ is an entirely new way to experience the music—as a full-body immersive journey,” said The Glitch Mob.
“This show expands upon what we’ve learned from doing several others, but goes much deeper into environmental storytelling and interactive design,” said Adam Arrigo, TheWaveVR CEO and co-founder. “Part film, part concert and part art installation, the show explores themes fundamental to immersive technology, such as the relationship between isolation and social interaction in the digital world. It’s far and away our most ambitious endeavor to date.”
TheWaveVR recently closed a $6 million Series A funding round and later collaborated with Warner Bros. on a Ready Player One (2018) themed experience that brought the film’s dance club scene to life in VR. The Austin and Los Angeles-based startup is also known for having collaborated with EDM artists TokiMonsta, Heavy Grinder, Ninja Tune artist Ash Koosha’s AKTUAL, and Strangeloop’s N-FOLD to name a few.
Hyperbolic Magnetism, the indie studio behind Beat Saber (2018), today announced that the hit PC VR rhythm game is headed to PlayStation VR headsets later this year.
The Czech Republic-based studio announced PSVR availability via a tweet, which featured a brand new song to the lineup. While Hyperbolic Magnetism is staying mum on a specific release date, musician Jaroslav Beck, who created the music for the game, teased that the PSVR availability announcement may mean at least a new level.
Since the game’s launch on HTC Vive, Oculus Rift and Windows “Mixed Reality” VR headsets in early May, the studio has gone on record saying they’ve generated $2 million is revenue with at least 100,000 units sold—a big milestone both for the two-person studio and VR as a whole. Now with a PSVR launch around the corner, E3 would be a great platform to announce new levels, new songs, or even new artist collaborations.
The studio has been busy creating its own first-party level builder, which would allow any user to import their own music and build custom levels. Although it’s been officially in-the-making since Hyperbolic Magnetism released last month, the studio has endorsed a few third-party solutions, which has resulted in some pretty wild creations to say the least.
Rec Room, the free multiplatform social VR app, just got its long-awaited battle royale shooting game, Rec Royale. Now live on all supported platforms, you’ll be able to engage in some PUBG-style shootouts as you hang glide down to the map below in search of weapons, ammo and health potions.
Update (06/08/18): ‘Rec Room’ is now live on all platforms, including PSVR, HTC Vive and Oculus Rift. We had a chance to go hands-on during the open beta late last month, and while we were hoping for squad gameplay at launch, it appears we’ll have to wait just a little longer. Against Gravity says teaming up outside of custom rooms will lead to bans.
Other changes at launch include the ability to walk and sprint over almost any terrain type, including off cliffs, and the ability to toggle locomotion between head-based direction or controller-based direction.
The original article follows below:
Original article (06/08/18): Rec Royalewill pit 16 players against each other in a national park setting, including “summer camps, mountains, forests, outposts, ravines, lakes, and tons of loot for scavenging,” Against Grav Community Designer Shawn Whiting says in a PS blog post.
Against Grav also created new backpack system for quick swapping and storing multiple weapons and power-ups—a must for a VR-only title such as Rec Room.
Rec Royale will be on offer beforehand via a public alpha test for players with a registered Rec Room account, available from May 25th – May 27th on all supported platforms.
Image courtesy Against Gravity
Rec Room already plays host to a variety of mini-games, including various co-op quests, disc golf, dodge ball, 3D charades, and an engaging paintball game that pits you against other community players in massive outdoor area sprawling with places to take cover. By the sounds of it Rec Royale will be much larger than the current paintball area.
In-keeping with the family friendly, cartoony vibe, we assume Rec Room has gone for a decidedly more Fortnite (2018) approach to Rec Royale, which will likely put various paintball guns in your hand as opposed to lifelike weapons.
Echo Combat, the VR shooter expansion to Ready at Dawn’s successful VR sports game Echo Arena, is heading into open beta this month. And unlike its sporty counterpart, which was released for free to all Oculus Rift users, the shooter is going to be priced at $10 when it releases.
There’s no official launch date for Echo Combat yet, but the open beta is set to kick off June 21st for free. You can sign up here for more information.
For VR fans going to E3 this year, which takes place June 12-14 in Los Angeles, Oculus will be hosting public demos of Echo Combat at the Alienware booth (South Hall #647).
We recently went hands-on with Echo Combatin a closed beta session, and it proved to be just as engaging, highly-polished, and comfortable as Echo Arena, albeit with a new objective-based payload gametype that pits you in a three vs. three shooting match to either attack – pushing a giant pink flamingo payload to its goal on the other side of the map, or defend – make sure that doesn’t happen.
While you wait for Echo Combat, check out our video of a full match, which includes the newly redesigned lobby and all of the shooting fun of the upcoming shooter expansion.
