While Capcom's arcade brawler compilation Dungeons & Dragons: Chronicles of Mystara hits the PlayStation Network in North America tonight (and Xbox Live Arcade tomorrow), D&D fans in Japan might want to hold out for an upcoming PlayStation 3 retail release, which offers exclusive features and enhancements not found in the digital version.

The PS3 retail version's Facebook page describes the release as a treasure trove for retro gaming connoisseurs, comparing it to the well-received Street Fighter Alpha Anthology on the PlayStation 2. The collection includes a color-edit feature, and allows multiple players to play as same character. The retail edition also offers an in-depth series of options, allowing players to toggle features like random damage and breakable weapons. A similar "House Rules" system was announced for the digital release.

The digital version set for release this week is developed by Iron Galaxy, who previously produced arcade compilations like Darkstalkers Resurrection and Marvel vs. Capcom Origins. NeoGAF member toypop notes that the PlayStation 3 Blu-ray version of Chronicles of Mystara is developed by an internal Capcom team staffed by developers of the original Dungeons & Dragons arcade games.

The PlayStation 3 retail version of Dungeons & Dragons: Chronicles of Mystara will launch in Japan this August. Capcom confirmed with Joystiq that the retail edition is exclusive to Japan, and is not scheduled for a North American release.

With all of the hubbub about next-gen at this year's E3, Earth Defense Force 2025 stood out as the product of an entirely different generation, one where wildly idiosyncratic Japanese-developed games both delighted and confused gamers willing to take a risk on untested and out-there concepts.

Technically, it's a complete mess, though I'm sure any fan of Earth Defense Force can tell you the series has never been known for its impeccable graphics or silky smooth action. Despite its rough edges in comparison to the polished Xbox One and PS4 games on display in the very same convention center, EDF 2025 still carries a unique charm.

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Though Mad Max has been a project spanning several years, going through several iterations in that time, Avalanche Studios CEO Christofer Sundberg claims it's not the game that was rumored in 2008.

God of War 2 lead Cory Barlog had reportedly gone to Avalanche Studios in 2010 to work on a Mad Max game, tied to a new movie. "I don't know what [Barlog] worked on before he started working with us," Sundberg told Polygon, "but when we worked together he wasn't on Mad Max."

Sundberg said the team has been in production on this Mad Max game for around 18 months, though it's been at Avalanche in some capacity for years now. "The game has gone through a series of iterations. We've been working for it for a couple years."

Mad Max is due in 2014, for PS4, PS3, Xbox One and Xbox 360. We saw the open-world action game game at E3 and caught up with our old hillbilly pal, Chumbucket.

When players look back on the platformers of yore, it's easy to forget one important thing about them: They're tough. Modern platformers allow infinite retries and plentiful checkpoints, but old-school platformers, like Disney's Castle of Illusion Starring Mickey Mouse, required precise jumps over one-hit enemies and sent you back to the beginning of a level, or even the game itself, when all your lives were lost.

Sega has preserved that difficulty in the remastered version of the game, as seen on the floor of E3 2013 last week. Sega Studios Australia has teamed up with the original game's creator, Emiko Yamamoto (who still works for Disney in Japan), to recreate the game in 3D and add new elements.

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One of our favorite talks from GDC was Brian Provinciano's session, in which the indie developer discussed bringing his game, Retro City Rampage, to just about every platform known to man. It's a valuable talk for many reasons, giving a clear picture of what it's like working with The Big Three™ and the types of hurdles a determined indie developer will inevitably hit.

Provinciano's determination to port Grand Theft Auto 3 to NES hardware escalated into a love letter to video games and pop culture. While Provinciano hasn't announced his next project yet, he says we should expect more humorous open-world games.

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No development process has been as interesting to watch than the multi-game pile-up known as Final Fantasy 13. It's not that these RPGs have been of poor quality, per se; they just represent the totality of Square Enix's resource mismanagement during the first HD generation of consoles. So it shouldn't come as a surprise that Lightning Returns wasn't the only Final Fantasy 13-related product on the show floor during E3 2013, as Square unveiled the long-awaited Versus 13 under an entirely new (though slightly predictable) name: Final Fantasy 15.

This rebranding – combined with the Final Fantasy 13 name getting second billing to its lead character – provides some compelling evidence that the developer might be a little ashamed of that "lucky" number these days.

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When the PlayStation Store updates tomorrow, both Saints Row: The Third and Gods Eater Burst will be available as free downloads. Saints Row is a PS3 game, while Gods Eater Burst initially launched on PSP but is also compatible with PS Vita.

Last week at E3, Sony detailed plans for PlayStation Plus moving forward. While it's required for online multiplayer on PS4, it won't be necessary for video services or certain free-to-play games, and won't see a price increase during its transition to next-gen.

Despite being "an important IP to EA," there is no new Dead Space game in development; instead, Visceral Games is working on something else right now. "Is that team working on a Dead Space game today? No they're not," EA executive vice president Patrick Soderlund told Eurogamer at E3 last week.

"They're working on something else very exciting. You have to think of it from that perspective. Is it better to put them on the fourth version of a game they've done three previous versions of before? Or is it better to put them on something new that they want to build, that they have passion for?" This isn't the end for Dead Space, however, as Söderlund reiterates that it's "a brand that is close to Electronic Arts' heart."

"I am of the utmost opinion that we have to put the best possible games in the hands of our fans," Söderlund added. "How you get to a great game, the first thing you need is a great development team that have a passion for building what they're building. That's a simple parameter. Everything else follows. Money, time, everything else follows. It's less relevant. That's ultimately how you get success. It's as simple as that."

Dead Space 3, which launched earlier this year, failed to meet EA's sales expectations at launch and has had fewer sales than Dead Space 2.

The Last of Us represented several accomplishments during its first week of sale in the UK, where it took the number one spot on the region's sales chart. According to Chart Track, the game is the first Sony exclusive to take the top spot since Uncharted: Golden Abyss on Vita in early 2012. It's also the third fastest selling game of 2013 behind Bioshock Infinite and the "weak" Tomb Raider, along with being the biggest launch for a new intellectual property since L.A Noire in 2011. Overall, a fine start to developer Naughty Dog's swan song for PlayStation 3.

The cash infusions for the UK retail market didn't end with The Last of Us, as Nintendo's Animal Crossing: New Leaf debuted in second and became (wow, y'all love your Tom Nook debt programs) the biggest non-Mario 3DS launch ever. The UK top ten indentured to Tom Nook can be found after the break.

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Pyramids don't have a monopoly on terrifying head shapes, at least not if The Evil Within has anything to say about it. You might be wondering what's inside this fellow's safe-head. We got as close as we dared to take a few pictures and, frankly, we're not sure we want to know.

The concept at the heart of Rain is magical. Looking out his window, a boy witness a seemingly invisible girl, her silhouette revealed by the rain as she ran splashing through the night. She was followed by another invisible entity outlined by the rain, a ferocious bipedal monster, which was referred to only as an "unknown."

Fearing for the girl's life, the boy chases after her, following her and the monster through a strange door of light. Emerging on the other side, the boy finds himself in different though familiar world. It looks like his own, a seemingly European city filled with alleyways, though this world is cloaked in perpetual night and never-ending rain. In this world, he too is invisible, his presence revealed only by the rain pattering against his body. The boy sets off in search of the girl, looking for answers. Is he cursed to remain invisible? Can he ever return to his own world?

Those will have to wait though, as the boy is soon running from a pack of different four-legged monsters. He quickly discovers that invisibility has its advantages. By hiding under structures so that the rain doesn't give away his position, the monsters can no longer see him.

Normally, this sort of storybook world would be right up my alley (see: my Unfinished Swan review), but I'm afraid Rain's big trick may be its only trick.

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E3 2013 is officially at an end. There was a lot to take in, so join Joystiq Reviews Editor Richard Mitchell and Engadget Senior Associate Editor Ben Gilbert as they do their best to encapsulate everything that went down this year.

They talk about the showings from Microsoft, Sony and Nintendo, as well as some of the industry trends that are cropping up and the Oculus Rift's surprising ability to crack through the jaded, cynical shell of game journalists.

We'll have more E3 previews and coverage over the next few days, so be sure to stay tuned to Joystiq!

Sherlock Holmes Crimes and Punishments is a departure from Frogwares' previous investigation game, The Testament of Sherlock Holmes, in a number of ways. Crimes and Punishments aims to put players inside the mind of the world's greatest detective, to see the world as he sees it and deliberate the moral choices within Holmes' logistics of justice. It's emotional and dark, and in a demo showing off the story as told in Unreal Engine 3, it already appears insanely effective.

One of the most obvious changes is the new "Character Portrait" ability, which allows Holmes to take a moment and examine a suspect or witness with his keen, investigative eye. As he scans the person, words in white appear over certain features, noting how expensive or worn down certain articles of clothing are, noting scrapes or signs of labor on limbs, and deducing relevant, personal information.

This ability in particular is inspired by the BBC show Sherlock, designer Olga Chalovskaya told me. Sherlock is, itself, a dramatic interpretation of Holmesian detective stories, and Crimes and Punishments draws on many of the same, human-driven tones.

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You could argue that EA Sports' FIFA series has a stranglehold on the simulation soccer game genre. The publisher locked up the FIFA license for many years to come, making it the only company with access to a number of real-life teams that other publishers such as Konami can't get its hands on.

If you care only about the number of teams that are in your sports games, then sure, FIFA is king. Until I played Pro Evolution Soccer 2014 at E3, I was still convinced that I am a "FIFA guy." That might be changing, now that Konami has introduced the Fox Engine to the series, which is being used to generate facial textures and animations in a more lifelike manner.

Sports game developers traditionally don't have the resources to commit to rendering lifelike emotion for in-game athlete's faces. In the case of games such as FIFA or Madden, expressions on athletes waver between lifeless and lifeless-with-an-open-mouth. Truly, one of the biggest tangible ways to convey the excitement of scoring goals or making crucial mistakes lies in generating that emotion through the athletes that players interact with, not unlike viewing sports broadcasts in real life.

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Shinji Mikami's creative influence on The Evil Within is immediately apparent. Mechanically, my brief hands-off E3 demo had a lot in common with Mikami's survival horror milestone, Resident Evil 4. The over-the-shoulder camera, slow pacing and pulse-quickening enemies were all there.

That The Evil Within shares so much with Resident Evil 4 is a two-sided proposition. Resident Evil 4 was one of the greatest games of its day, but its ground has been retread many times by subsequent survival horror games over the years, and even by Mikami himself in Shadows of the Damned.

Where The Evil Within seems to stake its greatest claim is in its visual and thematic elements. The game stars a detective named Sebastian – Seb to his friends – who is sent to investigate a disturbance at a mental hospital. An unknown event has claimed the lives of several patients and possibly a few police officers.

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Sony Online Entertainment doesn't have any new games at this year's E3 conference. But the developers behind DC Universe Online and PlanetSide 2 are hard at work anyway, and not just because they're running two live MMOs. Both games, which currently run on the PC (for both) or the PS3 (for DCUO) are coming to the PlayStation 4, which presents both positives and negatives for the developers involved.

Adam Clegg, game designer on PlanetSide 2, says he's excited to develop for the PS4 rather than the PC, because it'll make optimization for the game's graphics "1000 times better." Currently, the PC team has countless builds of hardware to optimize the game for, but everyone playing on a PS4 will use the same hardware, which makes things much easier. Additionally, Clegg says improvements should go the other way, too, as optimizing for the PS4 should make the game better for PC users.

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Warner Bros. Montreal is bringing a new side-mission distraction to Batman: Arkham Origins that will pique the interests of those who've enjoyed the forensic focus of Rocksteady's games. At E3 I put on my detective cowl to try out the new "Crime Reconstruction" mechanic.

It began, as it so often does, on a rooftop on a cold Gotham night. As Batman, I saw a police helicopter rise from behind the ledge, ordering me to surrender. Even if I wanted to, a gunshot took the helicopter down before I could respond. It spiralled out of control, tailspinning several stories into the icy street below. Confused, I swooped down to look for survivors. The helicopter was wrecked, and I found a body flung a few feet away: the dead pilot.

This is where the crime reconstruction began. First I analysed the body in Detective Mode with the Evidence Scanner, which takes in all of the crime scene's data in hyper-quick time to play Columbo within seconds. As I scanned, I saw the helicopter's crash trace back in time, in suitably cool-looking virtual blue bittiness. As it replayed, I saw the copter take out a first-story ledge before crashing into the earth below. Scanning the body, I learned he died on impact, and not from the gunshot.

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