When Bluehole first announced it was adding a new Event Mode to PUBG I curled my lip at the idea. If you've invested as much of your time into a game as I have with PUBG, it's easy to fear change.
This week's big Fortnite news - and there is big Fortnite news every week - is that Tilted Towers might be getting nuked. Well, not nuked exactly, but hit by a meteor, a biographical event from which it is unlikely to emerge unchanged. Meteors often explode with a strength measured in relation to nuclear blasts, and there is a lovely decisive finality to the phrase, so let's go with it. Tilted Towers might be getting nuked. And it should get nuked. Fortnite should definitely nuke Tilted Towers.
I have Fortnite on my iPhone SE. The complete thing? Well, the Battle Royale part, anyway: the part that is currently taking over the world. And it works! It works surprisingly well. It's a little more basic to look at and I'll need a while to get properly comfortable, but I suspect Fortnite might well conquer the touchscreen much as it's conquered everything else.
Fortnite, like PUBG, is a game of a million different stories, but if you leap from the sky and aim straight for the house on Loot Lake you're often going to see one story in particular.
When Epic added a battle royale mode to Fortnite in September last year, PlayerUnknown's Battlegrounds publisher Bluehole was pretty upset.
This far in, I think we can officially say: Fortnite is weird. The game that originally launched offered a brilliant suite of construction tools, but the game's pretty but rather brainless PvE meant there was little reason to build anything that fancy. The fact that any and all buildings would disappear at the end of a single Horde-style level meant that you felt you were wasting your time if you tried to experiment or make something elaborate and interesting. Form definitely followed function here.
Jeffrey Manchester typically robbed McDonald's. He typically robbed McDonald's because in America, McDonald's restaurants, wherever you go, are typically the same kind of building. Manchester's genius - and it was genius, albeit of a scrappy, low-key nature - was to realise that in these near-identical McDonald's buildings, near-identical rituals were often unfolding. If you found the right moment in the day to rob one McDonald's - and the right access point to utilise - you had stumbled on a crime you could export across the country. McDonald's has developed a easily replicable system for selling burgers. Because of this, Manchester had developed an easily replicable system for robbing McDonald's.
I've finally had some brilliant moments in Fortnite. I've had some brilliant moments, unexpected and thrilling and hilarious. For weeks, I dipped in and out of a game that I dearly wanted to love, a game made with obvious craft and care and wit, but a game whose once-voguish elements - resource gathering, crafting, loot boxes! - failed to come together in any meaningful way. The art, a sort of goofy atomic-age panorama, as if Mad Magazine had been conscripted into a militia, was hard not to warm to and the PvE campaign zipped along, but I was left unsure as to why I should put any time into building complex structures to defend against zombie hordes when the match would be over in the blink of an eye and all that hard work would vanish forever, and I was suspicious of the numbers that you pumped out of enemies, one bullet at a time. Those numbers looked so great, chunky and bright as they cluttered the air, but they also looked like set-dressing rather than anything with genuine meaning to the player. Fortnite simply wasn't as much fun as it looked like it was. It often seemed like it was pretending to be a game.
Remember when zombies were cool? I think to myself, mashing the right trigger to slap down a few more with the big pointy stick I crafted earlier. That's about the time this game was announced.
New IPs, we're told, aren't really feasible at the tail-end of a generation, so it's heartening to sit down and discover that a sizeable part of the games industry is sticking its tongues out at the likes of Yves Guillemot and Peter Moore; 2013's looking like it's going to be an absolutely stellar year for Actual New Games.