Need for Speed Most Wanted Black Edition

The Need for Speed Most Wanted Black Edition series has become the Star Wars of racing games. It’s an incredibly successful and long-running series that can be broken up and distributed into whatever format the zeitgeist demands.
While the ’90s were all about supercars and glamorous European locations, the early 2000s saw a shift towards American tuner culture and improved vehicles. Then, Criterion’s much-talked-about NFS: Hot Pursuit came out last year. It returns to the series’ roots as a sophisticated urban racing game with high-speed cop chases. London-based Slightly Mad Studios takes us into the world of racetrack-based driving simulation with this year’s spin-off Shift 2, featuring an innovative “helmet” camera that swings the screen back and forth on every impact. I took him there.
When you run it, the suggestion changes again. The studio was previously responsible for the epic, story-driven title Need for Speed Most Wanted: Black Edition Undercover. However, the idea of a racing game driven by an underlying storyline led the studio to Remain faithful. This is essentially a cinematic action-adventure game that revolves around driving. It’s Uncharted on four wheels. Players take on the role of Jack (who doesn’t seem to have a last name now), a talented driver who takes part in an “illegal, high-stakes race” from San Francisco to New York. We don’t know much about this character yet, but it seems like he has a shady past and is on the run from someone, namely the police. Gang? Both? EA hasn’t announced it yet. In short, this giant chase game traverses multiple cities and landmarks across the country. Although this is the first title in the series to use real locations, these are highly stylized interpretations. There’s no slavish adherence to grid-based street layouts here.
Interestingly, Need for Speed’s Most Wanted Black Edition: fraction The Run will be one of his first console titles to utilize DICE’s cutting-edge Frostbite 2 engine. It took a year to adapt the technology for driving rather than filming, according to designer Alex Grimsley (recently hired from Code masters, where he oversaw the Grid and Dirt titles). It was instantly worth it. “Previously, if a producer requested a change to a title, it could take up to a day for that change to take effect and become playable. Now, we can do this in just a few minutes. Instead of changing the title once every day, you can make up to 30 changes.
Therefore, the design process was one of experimentation and refinement. In his previous Black Box titles, artists, programmers, and designers worked separately. In The Run, they work together in small groups to develop games, from initial planning to structure and development. It created a more improvisational atmosphere. Grimley explains. “Obviously, it was a terrible process. You couldn’t really replay it, and quality wasn’t considered. Now we’re all in a room together, brainstorming, putting things on the wall. You throw things and the game progresses slowly.”