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(02/06/17 3:12pm)
by Aidan Kearney
Disclaimer: This playthrough was performed on a PC with a GTX Titan Hybrid
When first shown at E3 2016, Resident Evil VII swept everyone’s expectations from under their feet. For the last twenty years, the Resident Evil series has been mainly third-person, with each game building off the last. Cynics declared the switch to a first-person perspective would make it an Outlast clone, and skeptics – like me – worried it would result in generic gameplay. Having played Resident Evil Remake before beginning Capcom’s latest entry, fans of the series will be happy to know that Capcom did a fantastic job in translating the classic Resident Evil formula into a new perspective.
Southern Hospitality
In the early parts of the game, the player character Ethan Winters will have to manage his resources between scarce health items and limited ammunition. With meager starting inventory Ethan must choose between what’s crucial and what’s stored in item boxes. While there is some degree of hiding from enemies, that ends very quickly once the player gets their hands on a decent amount of ammo. With its tight shooting, the game rewards placing your shots well and assists in conserving ammo. The new, grotesque ‘Molded’ enemies can be easily dispatched with headshots. Unfortunately, enemy variety is neither here nor there.
This is balanced out by the writing of the main antagonists: The Baker Family. The Bakers show Ethan the true meaning of “southern discomfort.” Jack Baker alone easily carries the first half of the game with tense boss fights and a personality that manages to be both entertaining and frightening.
Strange Yet Familiar
Moving away from the action-oriented cinematic sequences of the past two games, this new entry focuses more on exploration of the sprawling Baker residence, laid out all too familiarly to players of the original Resident Evil. The residence is littered with fairly simple puzzles, and Resident Evil VII keeps its tongue firmly in its cheek. It’s a madhouse, and Ethan outright wonders “who builds this stuff?” Each location in the residence is uniquely designed, and graphically impressive. A morgue in the main house basement is littered with rotting corpses. An old house on the bayou is filled with oozing insect nests wherever it’s not falling into the water. Between the locations, there’s sickly black ichor infesting everything it touches. Like the Resident Evil VII: Beginning Hour demo, the final version of the game runs at a smooth 60 frames per second on PlayStation 4 and Xbox One.
Go Tell Aunt Rhody This Needs Fixin’
For all it offers, Resident Evil VII is not without its faults. The first hour feels too scripted, and some jump-scares feel cheap. Ethan feels sluggish as his defensive options are guarding, crouching, and running as fast as a third grader with two left feet. Unfortunately it feels like more corners were cut the further on the game goes. The last two levels of the game don’t feel nearly as complex as earlier parts of the game. One play-through will last about ten hours; it’s rather short for a full-value game. Thankfully beating the game once unlocks “Madhouse mode.” Along with increasing damage taken, this gameplay mode switches around item locations and changes the dynamics of boss fights.
Resident Evil VII presents a refreshing new entry in the series that provides rewarding gameplay, entertaining characters, well-optimized and aesthetically pleasing graphics, and an ending that will certainly result in more Resident Evil to come. The season pass provides further gameplay modes on PlayStation 4 and Xbox One, but PC players will have to wait later on in February. If you’re just interested in playing through the game once, it wouldn’t be a bad idea to wait for a price drop especially since there’s more free content coming this spring.
All Images From: IGN, DualShockers and Openrec.tv
(12/23/16 11:00am)
by Aidan Kearney
Disclaimer: This review was conducted on a PC with a GTX 780i, i7, 16GBs of RAM
This review is focused on the single-player aspect of the game.
Space Hulk: Deathwing thrusts the player deep into the heart of a massive spacecraft with a simple task: purge the xenos. With permission from Warhammer 40k owners Games Workshop, French developer Streum-on Studios created this Tactical First-Person Shooter based on a 1989 board game of the same name. Players can expect gameplay similar to Star Wars: Republic Commando thanks to its squad command element. Deathwing’s setting is the forever-grimdark yet over-the-top Warhammer 40,000 table-top series. In the 41st Millennia, there is only war. Humanity’s Imperium of Man is pitted against mutants, eldritch abominations, and in the case of Deathwing: Tyranids, an insectoid alien species hell-bent on consuming everything in its path. Deathwing offers a short but sweet single-player campaign, with multiplayer co-op play available after. Combat is absolute abundance in both, but with some kinks in the armor.
Combatting the alien threat
Think “special forces wizard” and the ability to teleport into an enemy instantly destroying them...
The Imperium of Man assigns the player to lead a squad of Terminators to scour the Space Hulk, a derelict space craft filled with xenos. Terminators are massive, heavily-armored super-soldiers loyal to their military company and armed to the teeth. The player leads a three-man squad against thousands of Tyranids. From chapter to chapter, players can expect an ambush at any moment wandering the halls of the massive ship, responding in turn with commanding their squad. Commands are issued to the squad through a quick menu, with the ability to move, defend an area, or attack a specific target. Utilizing the command quick menu is absolutely essential to ensuring the two NPC squad members don’t die during any intense battles.
As the squad leader, the player takes control of the Librarian: a Terminator capable of using psychic powers. Think “special forces wizard” and the ability to teleport into an enemy instantly destroying them. If setting aliens on fire isn’t enough, the player can turn the environment against the enemy. Turrets are located throughout each mission that enable the player to quickly hack them through a menu, and firing on what’s in their rage. Be warned, as failing to directly control a turret can lead to the turret opening fire upon the squad and the player. It can be pretty easy to locate turrets thanks to a minimap and radar, alongside the map menu which displays your objectives
While exploring the ship the player will encounter aliens of all shapes and sizes. Smaller strains of Tyranids can emerge from virtually any opening in the Space Hulk, meaning the player has to constantly be on their guard. Swarms are indicated by an obvious roar heard throughout the environment, leading to dozens of Tyranids filling the screen. At close range, melee weapons easily cleave through enemies, causing them to explode into bloody chunks and ragdoll throughout the environment. A great deal of coordination is needed to deal with much more advanced Tyranids found in later chapters. Despite being in such heavy armor, the player is not indestructible, and taking even a couple hits from the greater enemies can be a fatal flaw.
Heavy Metal
The player is in an incredibly bulky suit of armor and it feels like it. Every lumbering step makes a satisfying thud. Thankfully the player won’t be walking all the time, as a long sprint is available for traversal throughout the ship. With the heavy armor comes heavy weaponry. A load-out is picked before each game chapter. To start, the player is given a giant electrified gauntlet and a handheld machine gun that shoots miniaturized rockets, tearing apart any Tyranid you come across. Enemy encounters only get more brutal from there, with gatling guns and flamethrowers that provide different gunplay each chapter. From the load-out menu, players can customize their squad members as well, but with fewer options than the player character. Further equipment is granted through upgrading the squad’s section in the skill tree. This skill tree is available for upgrade at the end of each chapter, with points allocated based on how well the player performed in each mission, be it enemies killed, doors hacked or collectables found.
The Belly of the Beast
Moving close to the walls, the player can hear the claws skittering through ventilation shafts and heavy breathing from an invisible Tyranid stalking the squad.
In Space Hulk: Deathwing, players navigate both the claustrophobic confines and massive cathedral halls of the eponymous Space Hulk: an amalgamation of ships fused together through chaotic magic and spit out into space through interdimensional travel. In a combination of the new Unreal 4 engine and Streum-On’s level design team, the results are gloriously impressive. Despite much of the game taking place walking through corridors of the ship, very little of it feels repetitive. Each chapter takes the player to a different part of the Space Hulk that contains noticeable differences in design than the last one. One moment the player will be defending a massive cooling unit hidden behind an ornately carved door, the next they’ll be exterminating a hive of Tyranids with walls covered organic growths and the floor crawling with tentacles. Going to each area feels like a reward for exploring the Space Hulk. However, players should not expect quick chapters. Each level is far from linear, as chapters often involve exploring entirely different ships, rather than just different sections of one ship. Taking the time to explore every area of a level can easily take 30-45 minutes per chapter.
After completing it, I would highly recommend playing Space Hulk: Deathwing with headphones. Streum-On’s sound team went all out in emulating exploration of a massive spacecraft. There was a very specific design choice in not including background music within the game. Thanks to the silence, every single sound the player makes is amplified. Every step and every firefight stands out. Each weapon sounds distinctive. In exploring the ship, the lack of music adds a tactical element to the game. The player will easily hear the enemies before they see them. Moving close to the walls, the player can hear the claws skittering through ventilation shafts and heavy breathing from an invisible Tyranid stalking the squad. Progressing through each chapter wouldn’t be nearly as enjoyable if the sound design weren’t as good as it is.
Mechanical Faults
Right off the bat, if you don’t understand a thing I’m saying at the start of this review, you’ll be even more lost during the game. During the game’s short campaign, there are very little explanations for nearly half the terms used throughout the game. While the objectives of the game are very simple, if you aren’t familiar with Warhammer 40,000 you’ll probably have no idea why you’re doing something, what you’re doing, or even what you’re fighting. For all its perks and glorious combat, Space Hulk: Deathwing is far from perfect. In stating earlier that implementing the command menu is essential, it’s unfortunately owed to the fact that the squad AI is less than stellar. Without commands, the squad will orbit around the player, and in combat they can fail to recognize an enemy is nearby until they’re already getting hit. Before upgrading the Squad’s skill tree, one Terminator, Barrachiel, poorly uses ranged weapons. Often times Barrachiel will let enemy Tyranids get at least five hits in before deciding to open fire. Thankfully Barrachiel AI improves upon equipping him with melee weapons in which case he becomes an unstoppable bug-killing machine, but that point isn’t until at least four chapters in to the campaign. Additionally collectables are present in the game yet they hardly contribute to gameplay at all. Collectables in the game mostly just add up to another factor in determining how many points are allocated at the end of each chapter.
TL;DR
Space Hulk: Deathwing offers players a tense and thrilling experience of fighting uncounted numbers of enemies in claustrophobic but uniquely designed environments. For those who don’t understand the lore, the plot’s not hard to understand but it might be confusing. Patience and micromanaging reward the player with success in combat and more points for leveling. Despite its positive aspects, Deathwing offers little in terms of single player replayability. While the player would expect the ability to choose multiple characters, that function is reserved for multiplayer. Additionally, players with outdated graphics cards and processors will have a hard time reaching a median between image quality and high framerate. Space Hulk: Deathwing can offer players the most out of its $40 price tag as long as they don’t drop it after only beating the single player campaign.
All Images From: Gameranx, Spikey-Bits, Co-Optimus, Gabstez
(12/12/16 4:17pm)
by Emily Reuben
OneShot started out as a free RPG Maker title made in 2003. As the original version was expanded on for the 2014 Indie Game Maker competition, new content was added with character designs, story and graphics all receiving a substantial update. The extended, final edition has just released on Steam for $9.99. If you want the full impact of this gem, stop reading now and buy it. The less you know about it, the better. All you need to know is that this game will delight you with its inventive mechanics, lovable characters and immersive soundtrack. If you have 3-4 hours you can devote to a genuinely touching gaming experience, do yourself a favor and add OneShot to your Steam library.
It’s daylight saving time
...as the title implies, you only have one shot...
Niko, a child with cat-like qualities wakes to find himself in a decaying world that is not his own. After finding a large lightbulb that glows when he holds it, he is quickly recognized by the denizens of the land as their long-awaited messiah. Almost immediately, Niko is tasked with saving the world by delivering the light bulb, termed by the people as “the Sun”, to a distant tower to restore light to a world that lives in chaos, disarray and darkness.
The player’s role in OneShot is a bit different from the traditional RPG. While the player controls the protagonist, the player and Niko are two separate entities in the game world. The player functions instead as a spiritual guide, recognized as a god by the inhabitants of the dying world, responsible for helping Niko save the world and find a way back home. Careful what you do though; as the title implies, you only have one shot, and the choices you make have consequences that affect not only Niko, but the whole world.
Puzzle me this
The gameplay revolves around solving puzzles to advance through the three environments that encompass the game world. Mechanically similar to other adventure titles like the indie horror game Fran Bow, the player must utilize various items found throughout the world to solve puzzles of varying difficulty. Often times, the player is given little direction concerning which items are necessary for the task at hand or which items must be combined, which can lead to a bit of aimless wandering in order to mull over the possibilities. However, this is by no means a difficult game. While some of the puzzles may cause temporary confusion, all have clues hidden within dialogue, text or images.
The draw for this particular game is not the difficulty of the puzzles, but rather the unconventional means of finding the solution. Because OneShot does not limit itself to genre conventions, it delivers gameplay unlike almost any other RPG title on the market today.
A few scant blemishes
OneShot feels like it suffers from wasted potential.
On the whole, this game is incredible, but there are a few minor issues that break the immersion. The biggest issue is the lag that is experienced throughout the busier areas in the game. In areas where a lot of NPCs are moving or where particle effects are heavy, Niko’s movement slows to a crawl with the walking animation stuttering. This only occurred in two of the games many areas, so this did not greatly hinder progression; it just served as a temporary annoyance. For a game that has such simple graphics that use very little processing power, this should not be an issue.
Another minor annoyance was the reliance on backtracking. Necessary items are scattered throughout the three areas Niko must traverse through. These areas are universally small in scope, yet that only goes so far to remedy the problem of traveling familiar trails to open a box or to deliver an item. At times, it seems that backtracking was used to pad out the already short playtime of the game.
The game does such a good job of making you care about Niko, that the end of the game feels like it comes too soon. This is not an issue of pacing, but instead one of wanting more. I suppose that the best games really do end leaving the player wanting extra content, so in that respect, OneShot is one of the best. However, I found that the short playtime left me feeling that I hadn’t had enough time to really bond with the colorful characters and environments. Arguably, OneShot’s greatest strength is the interaction between characters, but Niko is the only character that the player gets to spend time with. Without other prolonged, meaningful interactions, OneShot feels like it suffers from wasted potential.
TL;DR
Gamers who enjoyed the emotional impact and gripping narrative of Undertale are sure to love OneShot as well. With unique character design, mechanics and plenty of fourth wall breaking, OneShot demonstrates that even a short game can be as impactful as any big budget release. For those looking for a short experience devoid of combat or tired genre tropes, OneShot offers a delightful adventure with plenty of engaging puzzles along the way.
All Images From: In-game screenshots, DeviantArt and Steam
(11/23/16 9:25pm)
by Graham Taylor
Based on the PS4 version
Sequels are an interesting topic. They need to be similar enough to other entries in the series so that they can work with pre-established stories and mechanics. But they also have to change enough up to keep the franchise from going stale and improve on areas that need it. It’s a fine line to walk. At first glance Dishonored 2 seems to be more the same than it is different. But this isn’t inherently a bad thing. The first was met with a lot of praise, and to that degree, similarity is a boon.
It’s Happened Again
[The story] sets the stage for a gauntlet of interesting levels the player will then progress through.
The first Dishonored was an action/stealth game about taking back power from a tyrant who seized the throne and framed you for murder. Dishonored 2, on the other hand, is an action/stealth game about taking back power from a tyrant who seized the throne and framed you for many murders. It is true that both games share the same overall plotline, but in all honesty, the story was never the highlight of the series. It sets the stage for a gauntlet of interesting levels the player will then progress through.
Emily Kaldwin, the recent ex-empress, is the newcomer to the series, fighting to reclaim her city from Delilah Copperspoon, who debuted in the DLC for the first game. Corvo Attano also returns as Emily’s father and the second playable character, alongside Emily herself. Despite being able to play as either of them, the story proceeds exactly the same for both of them, except for obvious changes in dialogue, and different supernatural powers granted to them. Just as in the first game, depending on how much chaos the player causes and certain choices made, the game world and ending will be affected, encouraging multiple playthroughs.
The characters themselves are not the main event though. Exceptions do exist, most notably Megan Foster, this installments boatman, and a few of the assassination targets. Other than that, even the protagonists, who are both voiced this time around, aren’t even that compelling. While their conversations with characters and monologues in cutscenes do add another dimension to their personality, especially the once-mute Corvo, the flavor lines they spout throughout levels range from forgettable, to wildly out of place. These moments are rather few and far between, but overall they could have been implemented much better.
The Jewel of the South
Music bleeds into the streets alongside the actual, literal flowing blood...
One of the many strengths of the first game was the setting and world building, yet another similarity shared with the sequel. Taking its unique artstyle and updating it for this console generation, Arkane paints a beautifully fantastic landscape that also manages to feel like a real place. In contrast to the dark, dreary alleyways of Dunwall, players are this time taken to the bright, colorful shores of Karnaca. While the first city was very much inspired by northern European architecture and Victorian imagery, Karnaca takes cues from southern European nations, mainly Italy and Portugal. And here is where Dishonored 2 starts to distance itself from its predecessor. The atmosphere is absolutely brimming with life; the city is filled with civilians going about their day. Music bleeds into the streets alongside the actual, literal flowing blood, and while the population is still under an oppressive regime, the land retains a colorful beauty to it. Even Karnaca’s plague, an infestation of “bloodflies” are bright, even if grotesque.
The game allows player to enjoy these moments too, as they are free to explore the city without needing to sneak or stab, with the exception of restricted areas. As players progress towards their objective, obviously security becomes stricter and challenge starts to present itself, but many of the missions begin in a very subdued manner, allowing players to meander about, collecting power ups and other collectables while enjoying the sights.
The level design is also superb, with many unique playgrounds for players to navigate: a labyrinthian manor and a Hollywood-esque palace are but two of the standout locations. Many even feature unique gameplay mechanics, such one area outside of a mine which kicks up dust storms every now and then, obscuring both player and enemy vision. The previously mentioned Clockwork Mansion takes this above and beyond though, with the entire layout of the building changing with the flip of a switch. This is perhaps one of the most unique levels in recent gaming, and is quite the spectacle to behold.
Every level also gives numerous options to reach an objective: stealthily, loud, lethal or non-lethal. Each one can be complete without being seen, without killing anyone, or even without using either of the protagonists’ paranormal skills. This speak volumes, as levels are open enough to give players freedom, but also tight enough to be played in any playstyle.
Restoring Your Honor
The sheer number of options the player is given is almost overwhelming, but it also provides a multitude of escape routes, just in case everything doesn’t go according to plan.
Speaking of playstyle, Dishonored 2 offers up a buffet of ways to play. Both characters have a unique arsenal of both magical powers and mechanical devices. Emily leans more towards a sneaky, misdirectional approach, and has the ability to turn into a shadow, mesmerize hostiles, create a doppelganger of herself to confuse opponents, or even link multiple NPCs’ fates; if one enemy were to die, so would the linked ones. Alternatively, if they were to become unconscious or stunned, the linked ones would also share these states.
Corvo’s repertoire returns from the first game, albeit somewhat expanded. He can possess beings, manipulate time, summon swarms of rats and create blasts of wind. Both do have a movement skill as well, though they differ drastically. The one power they do share is dark vision, which lets players see through walls and highlight key objects.
Both characters are also able to construct their own bone charms, which serve as passive boosts. By breaking down single charms with one power, players can combine them into powerful multi-ability charms, at the risk of corrupting them and incurring a negative effect. Then can also break down charms to create runes, which can be used to upgrade their other abilities.
In addition to all of these new features, Dishonored 2 improves on the original in that there are more ways to nonlethally handle a situation without the use of powers. Drop assassinations can also be used to knock out enemies, and even after engaging in combat, assailants can be punched and then knocked unconscious. This doesn’t trivialize the temptation of killing however, as taking a pacifist approach takes longer, and often time leaves players open to attack. Slitting a throat is much quicker than choking someone, and this provides a great dilemma between quick or clean.
Overall, the game feels very smooth and much more defined. It feels good to glide around, chaining spells together to move swiftly and eliminate targets. The sheer number of options the player is given is almost overwhelming, but it also provides a multitude of escape routes, just in case everything doesn’t go according to plan.
Even with all this, Dishonored 2 still finds a way to improve even more than the original. Quality of life changes, such as a quick save and quick load option help the most perfectionist of players. In game stat tracking, which provides details like enemies killed and times spotted on demand for the current level, or for the overall playthrough are a godsend for those looking to beat the game completely ghost and/or non lethally.
Of course, there are still a few technical hangups. Frame rates can stutter in certain settings, and become downright dismal in on particular level, where the player has the ability to travel and see into the past or present. What is easily one of the best designed levels is brought down by the amount of strain on the system. There are also a few annoying audio glitches, the biggest one being that the sound effect for choking out a guard sometimes persists for extraordinarily long periods. Sluggish menus also do not add to the experience.
TL;DR
Overall, Dishonored 2 builds and improves on everything that was set by its predecessor. On its own, it is a fantastic game, but as a sequel, it did everything that was expected of it and more. Despite a few flaws, the improved mechanics, expanded lore and overall game fixes add up to a game that blows an already incredible first game out of the water.
All Images From: In-game Screenshots and Shinigaming
(11/22/16 5:33pm)
by Emily Reuben
The Pokémon franchise has experienced significant growth in the past few years. The release of Pokémon X and Y signified the series' leap into 3D, essentially reinventing the 20-year-old formula. To boot, the series has been brought into the public eye thanks to the runaway success of Pokémon GO. Pokémon Sun and Moon continues to expand on the series mechanics and style in a new, refreshing manner while managing to appeal to both veteran players and newcomers alike.
New monsters, new adventures
... some old faces bring new twists to both the aesthetics and strategy of the game in the way of Alolan forms.
The two most exciting aspect of any new Pokémon games are the new Pokémon and the new region. The Alola region is unique in that it is separated into four islands. Each of these islands are diverse in their appearance and offer varied environments, such as deserts or mountains, keeping the visuals from becoming tired or repetitive. New life is added to these virtual environments with the addition of Pokémon cries as the player explores and images of wild Pokémon inhabiting the area. Overall, Sun and Moon do an excellent job in making Alola come to life.
Various new Pokémon have been added to compliment the Alola region. Sadly, the player will encounter Pokémon from past generations more often than not, making it difficult to assemble a balanced team consisting of new creatures. However, some old faces bring new twists to both the aesthetics and strategy of the game in the way of Alolan forms. These Alolan forms grant old Pokémon new typing and abilities, further developing the competitive aspect within the game.
Cutscenes, cutscenes and more cutscenes
Upon first booting up the game, it is clear that Sun and Moon are far different than any previous Pokémon game. The Alolan region operates on a tradition known as The Island Trials, which replaces the Gym Challenges used in past Pokémon games. These trials require the player to challenge multiple captains across the Alolan islands and eventually defeat each island’s Kahuna, which acts similarly to a gym leader. These challenges are similar enough to keep long-time players invested, but also offer a refreshing new challenge.
Another significant change is one that many players may find grating. Veterans of the franchise may be annoyed by the amount and frequency of cut scenes intertwined within the gameplay. Initially, these cut scenes are charming and offer more character development than any other Pokémon game in the past. However, as the game progresses it becomes apparent that exploration has taken a backseat to these cut scenes in favor of story development. While the addition of a more fleshed out storyline is appreciated, I found myself rapidly skipping past dialogue in an attempt to simply continue playing the game. In the case of Sun and Moon¸ the story hinders the player’s experience to individually explore the region and make progress. These scenes not only interrupt gameplay, they also guide the player through the game, making this the easiest Pokémon game to date.
While some players may appreciate the redoubled focus on building a narrative, events in Pokémon Sun and Moon often feel like they are happening around the player as opposed to being influenced by the player. At several points during the story, the player feels less like an actor, and more like a spectator. Previous entries in the series emphasize the player as an active protagonist, but in this case, the player’s role in the main narrative too often takes a backseat to other supporting characters.
Face lift for a 20 year-old battle system
... the player can easily end up in a seemingly endless loop of knocking out opponents while trying to isolate their desired Pokémon.
The introduction of Z-Moves adds more diversity to Pokémon battles and makes for some very interesting animations. However, outside of using them to witness the new animations, there was never a point in the game where I needed them to defeat an opponent. Even in battles against trainers who could harness Z-Moves, I never had any difficulty defeating them without using them myself. More importantly, the animations quickly become stale once you’ve seen them a few times, and there is no way of skipping them. Essentially, while Z-Moves make for some interesting new gameplay, reusing them becomes more tedious than fun.
Replacing horde battles is the ability of wild Pokémon to call for help during a battle. A wild Pokémon can call another Pokémon to fight alongside it, making the battle two against one. While this is a handy mechanic for leveling up a party, it can become quite annoying when a Pokémon continuously calls for help after their previous assistance has been defeated. This plays a significant role in the battle experience when the player is trying to catch a Pokémon, as only one opposing foe can remain in order to attempt a capture. That little quirk can make catching certain Pokémon extremely tedious, as the player can easily end up in a seemingly endless loop of knocking out opponents while trying to isolate their desired Pokémon.
Sleek menus make for solid gameplay
The most notable and welcome addition to Sun and Moon is the improved interface. The menu screen manages to included multiple extensions without feeling cluttered or overwhelming. The change I found to be the most useful is the implementation of type advantages and weaknesses in battle. While experienced players are most likely familiar with the various move types and their effectiveness in a given situation, new players will be able to jump right in without becoming overwhelmed. For players already accumulated to Pokémon’s battle mechanics, this change minimizes the chance of mistakes in battle that even the most seasoned of players are prone to.
Smaller changes such as shortcuts to previously used items in battle make the overall experience much more fluid and user-friendly. Outside of battles, the general menu screen continues the trend of easy accessibility, allowing the player to access various features such as online interactions, items, or the new Pokémon Refresh with ease.
Pokémon finally masters 3D
Sun and Moon is far more visually attractive than the previous entries in the Pokémon series. As mentioned previously, Pokémon X and Y was the series’ first exploration into full-blown 3D, so players excused many of the graphical complaints. Unlike X and Y¸ Sun and Moon seem more accustomed to the realm of 3D. The Alolan region looks absolutely stunning and manages to feel much bigger than the preceding generation. Another notable change is the character design. Instead of the “chibi” look utilized in X and Y¸ the player and all of the featured characters are more proportionally correct, as well as more appealing to the eye.
While the visuals are to be complimented, smaller graphical errors have carried over from X and Y that should have been fixed. The biggest example can be seen in any battle with more than two Pokémon. The amount of lag experienced is a bit perplexing, seeing as horde battles (where much of the lag previously occurred) have not been carried over from X and Y. In Sun and Moon’s case, this lag occurs in double battles, which are far more common than horde battles were in X and Y. The lag really slows the pace of battles and manages to dampen the excitement, especially during battles against Totem Pokémon. Though it should be noted that this may be because of uneven support across the original 3Ds and the New 3Ds XL hardware platforms.
Not enough challenge; too much hand holding
....streamlined features answer long standing problems with the franchise....
I stated previously that Sun and Moon are by far the easiest games in the Pokémon series to date. This is largely due to the guide featured on the map that shows the player exactly where to go to progress through the game. There is little room for error here, as it is nearly impossible to become lost or confused. Aside from the new map, several other factors come together to make progressing through the story a breeze.
After almost every cut scene, the player’s Pokémon are healed to full health. Because these cut scenes happen so often, it is very rare that a Pokémon center needs to be visited outside of first accessing a new town, or healing items used. This makes boss battles extremely manageable, seeing as how the player is always given a chance to recover beforehand. Similarly, any negative status effects are easily remedied outside of battle through Pokémon Refresh, nearly eliminating the need to purchase status healing items.
Returning from the past generation is the Exp. Share, an item that allows all Pokémon in the player’s team to gain experience after a battle. This item allows for multiple Pokémon to gain experience at once without switching Pokémon during battle. While this is great for speedy playthroughs, the Exp. Share is just another tool that holds the player’s hand in an already easy game. The Exp. Share can be turned off at any time, making the game slightly more difficult, but its mere existence is a testament to the low-level difficulty the Pokémon series has begun to favor. Even without using the Exp. Share, there is little in the way of challenge during the main story for longtime players of the series.
One long-time fans will rejoice at is the elimination of HMs, or Hidden Machines. In the past, HMs have required players to replace more effective moves with HM moves in order to bypass physical barriers strewn throughout the games. Sun and Moon instead have various Pokémon that can be called upon at anytime to eliminate obstacles in the overworld. While this is a feature that has been long awaited, players no longer have to strategize around making room for HMs and are free to use the moves that work best for their respective teams without consequence.
All of these factors combine to create a game with little in the way of challenge for experienced players. The streamlined features answer long standing problems with the franchise, but little is added to keep the challenge intact. Newcomers may have a bit of difficulty grasping the basics, but with all of the in-game help included, the learning curve has been greatly flattened.
TL;DR
The Alolan region is full of inventive new Pokémon and gorgeous new environments that are genuinely fun to explore. Many new features and updates keep the Pokémon formula fresh. However, while this game may be the most welcoming to newcomers of the series or those who have not played a Pokémon game in years, veteran gamers will still have to look to the post game and competitive online-play to prove they are the very best, like no one ever was.
All Images From: GameRanx, VG247, Prima Games, Geimen, SegmentNext, Pokefans.net, Pokémon
(11/10/16 1:50pm)
https://soundcloud.com/user-519363288/th-gaming-maw-s3e6-back-at-it-again-new-game-and-promising-new-releases
The Gaming Maw crew is back at it again to supply our lovely listeners and with all the latest updates from developers developing promising games.
If you're into viking horror, be expecting that in your future. Also be expecting a new game from That Game Company. Whatever that might be about is yet a mystery.
Before that, we talk consoles and the lengthy list of pros and cons to keep in mind this holiday season. How's the Switch been looking since we last left it? The Xbox Scorpio?
Finally we talk everything new game plus. Some salivate for it, some find it excessive. We discuss both sides, so be sure to listen to this episode of The Gaming Maw!
Hosts: Eamonn Anderson, Adam Sellers, Ian Pemberton
Logo by: Savannah Smith
Music by: Lex Bravary
Edited by: Daley Wilhelm
Be sure to follow us on iTunes!
(11/09/16 4:45pm)
by Emily Reuben
It seems today that all you see are over anticipated titles that never meet fan expectations. Many otherwise decent games fall victim to these overblown expectations. In the case of Owlboy¸ fans had 9 years to let fantasies of the game’s potential run wild. With the finished product finally available, the question emerges: how does it stack up?
Owl-song of the pixel-art genre
The very first impression the game imparts on the viewer as the title screen loads is the gorgeous sound design. The orchestral score swells, and it instantly immerses the player before they even get the chance to press play. The soundtrack of the whole game is so full of wonder and majesty, it truly is hard not to become invested.
Once that intrepid player starts a new game, they are greeted with some of the most aesthetically pleasing visuals that have come from sprite based games in the last few years. Breath-taking vistas of floating islands coupled with unique character designs make the aesthetic of the world feel alive. The adventure of the game will take the player through caves, ancient ruins, tundra, spiny mazes of thorn, and even to the interior of a pirate ship or two.
Story as classic as the graphics
The player takes control of Otus, a mute owl student struggling to learn the ancient ways of the Owls. While patrolling his hometown with his human buddy, Geddy, a gang of pirates attack the peaceful town. Absent from their guard posts, Otus and Geddy find an ancient Owl relic after following a troublemaker into some ruins in town. From there, the duo must do their best to stop the pirates as they continue on their rampage of relentless destruction.
As the game goes on, the story does not make too many surprising turns. It seems obvious that the story is present to serve as a vehicle for beautiful visuals, impressive sound design and reasonably tight controls. The generic story does not take away from the experience, but it does make one wonder at the possibilities of a story that could match the striking visuals.
Gamers may experience minor turbulence
Borrowing elements from 2D puzzle platformers and twin stick shooters, Owlboy packs a fun challenge. While the difficulty never gets out of hand, there were a few points that offer more complex gameplay, specifically the boss fights. The majority of these fights require memorizing a pattern of attack, however, some are more reliant on the player’s ability to act quickly and think even quicker. These segments are challenging enough to make the player feel genuinely accomplished and empowered to seek new and greater challenges.
Some mechanics have a few kinks in them. The auto-aim is a bit too sticky at times, and distinguishing allies from adjacent objects is vexing when trying to pick things up. Despite these minor hiccups, most of the gameplay is superb and without a hitch.
TL;DR
A genuinely pretty game wrapped in charming writing, Owlboy delivers a fun experience sure to transport any gamer to the Owl world. Through challenges that never feel unfair, the player is taken on a journey to a fantastical land filled with underdogs, pirates, and plenty of adventure to be had.
All images from: MobyGames, cgm, TechnoBuffalo and PlayingDaily
(11/02/16 4:05am)
https://soundcloud.com/user-519363288/the-gaming-maw-s3e5-switch-and-strike
This week on The Gaming Maw, the gang discusses current, troubling events with the voice actors' strike and how that effects video game production, and the voice actors themselves.
Then we talk about the new Nintendo Switch - why didn't Nintendo jump on VR? Why does Dylan sound like he couldn't escape the video studio? Mic Failure, but certainly not content failure.
All this, fall releases, and more on this episode of The Gaming Maw!
Hosts: Eamonn Anderson, Dylan Bateson, Ian Pemberton
Logo by: Savannah Smith
Music by: Lex Bravary
Edited by: Daley Wilhelm
Be sure to follow us on iTunes!
(10/30/16 5:53pm)
by CJ Streetman
There’s a certain amount of respect I have to give Unworthy for the sheer level of shameless inspiration it clearly takes from the Dark Souls series. In most circumstances, the level of similarity between the two games would probably border on one ripping off the other, but Unworthy is a gem that we all need to be paying attention to.
To discuss the basics, Unworthy is a ruthless sidescrolling action game with emphasis on careful rolling, attacking, and blocking. On a mechanical level, Unworthy really takes advantage of the work of its predecessors, allowing Souls initiates to comfortably slip in to the way the game works, while its simple design would be easy to adjust to for newcomers. Your actions are essentially limited to move, roll, attack, and this simplicity lends itself well to the 2D format. It features some clever innovations on the Souls formula as well, such as only being able to block every once in a while based on a recharging meter.
The aesthetic of Unworthy is simply phenomenal. The entire game is represented in simple silhouettes that miraculously manage to always be easily recognizable and understandable. The color palette of drab blacks and grays, with the occasional splash of red blood, really hammers home the bleak world of the game, that here there is only a cycle of death and violence.
Finally, the boss battles, or battle, as I was only able to reach and defeat one boss, are suitably unforgiving, and do a wonderful job of slowly ramping up the difficulty. As the boss’ health drops, they slowly add more and more moves into their arsenal. Because of this, an easy fight against a giant skeleton that strictly took slow swings quickly evolves into a frantic balance of managing my stamina as I dodge swords, fire, and undead hands reaching from the ground.
Initially, the plan for this preview was going to be to address the content that already exists, and then predict what kind of content could and should be added in, but frankly, there’s terribly little to ask for that won’t obviously be added in the full game (i.e. saving), as the game even boasts features like controller support already. Other than those basics, all there is to want is more of the same. Unworthy is a title that I can easily see matching or even surpassing its inspiration. In a way that many games have tried and failed to, Unworthy makes abundant use of Souls concepts as a springboard, rather than a crutch for its own brilliant ideas.
More information on Unworthy can be found at its website, unworthygame.com, where you can sign up for a newsletter and the chance to be in future beta and alpha tests. This preview is based on alpha build 1.1 of Unworthy.
All images from: unworthygame.com and Facebook
(10/29/16 4:11pm)
by Emily Reuben
Ever since the release of P.T. in 2014, numerous games have mimicked the successful formula which made P.T. a hit among horror fanatics. Despite the quantity of these knock-offs, very few are able to compare with the haunted atmosphere and masterful implementation P.T. managed to achieve. The Survey is no different in this regard. While The Survey manages to have a similarly chilling ambiance, exhausted horror tropes and unremarkable gameplay leave much to be desired.
Haven’t I heard this story before?
...what separates The Survey from less effective titles is the use of the cell phone, specifically the “survey” app.
The Survey details the lives of two children subject to their parent’s negligence and abuse. Lilith is an exceptional painter forced to paint for her parent’s profit. Meanwhile Marcus, Lilith’s younger brother, is ignored and even beaten by their alcoholic father. Lilith and Marcus’ accounts are relayed through a series of journal entries the player is tasked with uncovering throughout the course of the game, similar to other entries in the genre such as Layers of Fear.
The player takes on the role of Marcus alone in a narrow, dimly lit home armed with nothing but a flashlight and cellphone. Periodically, Marcus receives messages and tips from his phone, alluding to another person being in the house. This apparition can be seen at multiple points throughout the game as it appears to be looking for Marcus.
While this narrative line is nothing new, what separates The Survey from less effective titles is the use of the cell phone, specifically the “survey” app. While collecting journal entries and exploring the home, the player is prompted to take a survey on their phone. The initial questions are general and appear to be unrelated to the story. After a few questions, the survey becomes peculiarly specific, asking the player questions specific to the locations in the house. Eventually, the survey takes an uncomfortable turn when it notifies the player, “She heard you. Hide,” before quickly closing.
This warning is the height of the game’s narrative tension. Unfortunately, around halfway through the tension disappears along with the survey app. For a game titled The Survey, the actual survey is short and ultimately unrewarding, giving a false illusion of choice as events are relayed in a linear fashion. This is truly a shame, as the idea of the survey and its initial implementation build up the atmosphere substantially, but turn out to be a waste of a genuinely good idea that had shown a fair degree of promise.
Scary surroundings and spooky sounds
One of The Survey’s strengths is the eerie atmosphere created within the house. Sound is a rarity throughout, and when it occurs is appropriately muffled. The weakest aspect of sound is the rare instances of voice acting which occur over a radio transmission and television. While it is clear the intent is to implement an almost surreal or unnatural quality through heavily digitized and distorted audio, the execution leaves something to be desired. Because the only verbal sounds occur in these instances, they tend to break the muted, subtle sound established as the norm, as this disembodied voice is the only voice in the game.
As in most horror titles, darkness is pervasive in every room. The lighting
that exists lures the player into a false sense of security. The game succeeds at striking a healthy balance between the comfort of light and the safety of hiding in the shadows from that which follows.
Immortality is a curse, not a blessing
...knowing that there is no real way to lose certainly takes the “survival” out of survival horror with the “horror” leaving soon after.
The biggest failure of The Survey is a trap almost all modern survival horror titles become subject to: there are no stakes. From the first encounter with the apparition, it is evident that death is an impossibility. Instead, the game focuses on relaying its story, thus the player is unable to die in order to continue finding journal entries.
When this revelation occurs (and it occurs very quickly), there is little to be afraid of. While creepy imagery and suspiciously moving objects offer a sense of unease, knowing that there is no real way to lose certainly takes the “survival” out of survival horror with the “horror” leaving soon after. Because of this, the game needs to be viewed as an experience, or else boredom may quickly ensue.
Crashed again? The horror!
It should be noted that while graphical glitches did not occur while playing the game, managing to make The Survey advance past the loading screen was a horrifying experience within itself. After crashing six times on the lowest graphical settings, the game seemed virtually unplayable. By sheer luck, the game finally progressed passed the loading screen. A quick review of Steam forums reveals that this is not an isolated problem and that some players have been unable to play the game at all. With this information,it may be wise to wait until the game has been patched until making a purchase.
TL;DR
For a game that costs only 4.99, The Survey is a harmless entry into a tired genre. If you can manage to get the game to play, there is some genuinely unsettling content and innovative mechanics with in the game. Sadly, many of the better ideas are left unexplored in favor of more traditional gameplay. This appears to be Robert Gammon’s first foray into making games commercially, and for an inaugural game, it earns praise for its interesting concepts. However, a lackluster second half and an atmosphere robbed of tension leave the players wanting more. However, as the game’s tagline asserts, “in the end, everybody gets what they deserve.”
All images from: Steam and in-game footage.
(10/20/16 2:02am)
https://soundcloud.com/user-519363288/the-gaming-maw-s3e4-storytelling-part-2-narrative-driving-decisions
This week on The Gaming Maw, an old favorite returns and we talk about a favorite mechanic of games: choice. That's right, just like real life, in video games your choices affect the final outcome.
Video games are arguably the most interactive form of media. Everything a player does affects the game, and thus the story. We talk about games from Mario to Animal Crossing to Until Dawn, and how the choices you make in-game tie into the narrative.
Make a good choice and listen to this episode!
Hosts: Eamonn Anderson, Aidan Hall, Mitchell Sink, Adam Sellers
Logo by: Savannah Smith
Music by: Lex Bravary
Edited by: Daley Wilhelm
Be sure to make the choice to follow us on iTunes.
(10/18/16 11:56pm)
https://soundcloud.com/user-519363288/the-gaming-maw-s3e3-storytelling-part-1-selective-gameplay
The first in our two part special on storytelling, the Gaming Maw discusses all the little things that propel a story forward: gameplay.
Which is actually a big part of how video games tell their tales, whether it's crafting, leveling systems, or how one goes about shooting enemies. The action and the reaction. The atmosphere and sometimes, in games like Amnesia, the actual fear.
This episode we talk about our favorite experiences within our fav games and just how the gameplay immerses a player.
Press A to pay respects. Or to subscribe and listen to our other podcasts.
Hosts: Eamonn Anderson, Adam Sellers, Mitchell Sink
Logo by: Savannah Smith
Music by: Lex Bravary
Edited by: Daley Wilhelm
(10/11/16 6:51pm)
https://soundcloud.com/user-519363288/the-gaming-maw-s3e1-re-dos-and-donts
The Gaming Maw is back with an all new host who is ready to talk about everything in the world of gaming. We cover the latest Nintendo Direct, EA's iffy attitude toward remasters, and the new consoles that don't have very cool names.
(From Neo to Pro? Really, Sony?)
Hosts: Eamonn Anderson, Daley Wilhelm, and Mitchell Sink
Logo by: Savannah Smith
Music by: Lex Bravary
Edited by: Daley Wilhelm
Check out all our previous podcasts on iTunes!
(10/05/16 6:52pm)
by CJ Streetman
Reviewed on Xbox One
Destiny: Rise of Iron is the last expansion to Destiny, also kicking off Year Three for the long-living console game. Rise of Iron comes following the tremendously well-received The Taken King, and frankly, it’s a pale shade of an expansion following the massive adventure aboard the Dreadnaught.
Back to what you know
The single strongest point of Rise of Iron is the heavy emphasis on Destiny’s strong core gunplay.
From the very first mission every moment is about motion and marksmanship against an aggressive horde of enemies. There are significantly fewer arena fights than in previous expansions, which gives a feeling of constant forward momentum through each and every moment.
Even the arena fights are significant shakeups of the previous formula of shoot enemies until they stop spawning. As an example, the final mission of this expansion, which may be the best single mission in Destiny, puts a very special weapon into your hands for the duration of the arena fight.
Even the new raid, Wrath of the Machine, focuses on one or two new mechanics with very little in the way of puzzles and a whole lot in the way of shooting baddies. Contrary to last year’s Kings Fall, Wrath of the Machine is infinitely more about execution than puzzling out the scenario you find yourself in and genuinely deserves consideration alongside the brilliant Vault of Glass as the best raid in Destiny.
In the same field, the new Crucible mode, Supremacy, is excellent in that it forces players to rush into dangerous situations. The only major failings of the new mode are the heavy emphasis on Titans, with their advantage in close-range and the forced uselessness of sniper rifles, due to their long range.
I actually like these people, I guess?
I cried over a character in Destiny, which is something I genuinely never expected.
One of the major failings of Destiny over the last two years has been an inability to ground the player in the universe, lore, and characters with whom they interact. The closest thing to a great, world-building triumph in Destiny until now had been the genuinely excellent Books of Sorrow.
Where Taken King dipped into that field, by humanizing characters like Cayde-6 and Eris Morn, Rise of Iron dives straight in. I found myself genuinely caring about characters like Lord Saladin.
Perhaps most telling of all is a moment with Ghost. As the two of you overlook the place where he found you two years ago, he reminisces about the search for you. In the most shocking moment of Rise of Iron, wherein you fight horrific SIVA perversions and become a hero of an ancient order, I cried over a character in Destiny, which is something I genuinely never expected.
Sounds like a good vacation spot
The Plaguelands is the new area directly connected to Old Russia’s Cosmodrome. It’s terribly unimaginative and small, so that doesn’t really lend itself to exploration. The hidden alcoves all just reveal temporary weapons or collectibles, and the patrol missions become tedious faster than in the other patrol zones.
The bright spot of the Plaguelands is definitely the Archon’s Forge, which itself is a rather shaky experience. The new PVE arena is an unreasonably hard feature to activate that, for all intents and purposes, replaces the Court of Oryx, where players can only carry one SIVA offering item at a time as opposed to upward of 100 Runes in the Court of Oryx. This leads to a very disjointed experience in the arena, where between bursts of exciting and intense gunplay, everyone pauses to check their inventory to see if they even have one of the ignition items to start another round.
UPDATE: After the time of writing, Bungie uploaded a hotfix that fixed the economy of the Archon's Forge. More patrols guarantee SIVA offerings and the Forge itself is much more likely to reward the player with SIVA offerings. While only being able to carry one offering at a time still leads to frustration, it's much more likely that a fireteam will be able to start another round of the Forge immediately.
That’s a lot of glimmer
Now let's just talk logistics.
Rise of Iron costs $30, the two Year One expansions cost $20 each, and The Taken King cost $40.
In my opinion, the biggest sign that Rise of Iron is a letdown is that I have never previously felt like I've been shorted by Destiny, and that’s coming from someone who actually shelled out for Silver, the game’s premium currency that allows the player to buy emotes and other aesthetic items.
Rise of Iron includes around six missions (more to be revealed as you discover exotic quests), one strike, one raid, a new mode, three new maps, and one decent area.
This is unavoidably compared to Taken King’s 20 story missions, three new strikes, a raid, three new subclasses, two new modes, eight new maps, a raid, and an intricate and exciting to explore new area.
Frankly, Rise of Iron feels like one of Year One’s short DLCs except overpriced and overhyped.
TL;DR
What is in Rise of Iron is excellent and possibly some of the best content in Destiny so far. Unfortunately, what is there is so incredibly small that I will be genuinely shocked if I find myself playing Destiny in even a few weeks. It’s worth noting however that, in modern Destiny, the worst piece of content is still incredible fun.
+A return to focus on Destiny’s incredible gunplay
+Heavy focus on character development
+The moment with Ghost in the quest for Kvhostov
+New raid is fun and straightforward
-Campaign is maybe 3 hours long
-Price feels too high for the amount of content
-Archon’s Forge is disjointed and hard to start
-The Plaguelands are fairly dull
All images from The Daily Dot, VG 24/7, Digital Trends
(09/30/16 7:06pm)
by Emily Reuben
This review is based off the PC version of the game.
Every artist knows the maddening feeling brought on by writer’s block. A person could easily be driven to insanity in search of true inspiration. Layers of Fear, capitalizes on this idea, bringing to light a truly creative idea that, sadly, falls victim to horror clichés and repetitive settings in its execution.
A game well framed
The best part about Layers of Fear is the first few minutes of the game. You are an artist dropped into an enormous Victorian styled house, candles illuminate almost everything, and there are numerous notes to be found that reveal the information about the character. Very little information is given, so the player must discover by finding notes written by the artist. The task is simply to figure out the secrets surrounding the disturbed main character. If the game should be commended on anything, it should be for its spectacular presentation.
The game does a great job of creating an uneasy atmosphere that really sets the tone for the remainder of the game. A slow reveal of grotesque paintings and smeared paint on the walls act as a constant allusion to the artist’s descent into madness. From this, it is clear that there was a close attention to detail regarding what should be placed in the environment surrounding the character. Another great example within the game is the constant appearance of alcohol, showing the instability of the artist.
Darkness is prevalent in every room, making some areas hardly visible. The almost non-existent lighting in certain areas makes each step a cautious one for fear of what may be lurking in the shadows. Besides the grim lighting, the music that plays as you stumble about is ominous and foreboding. It is that pervasive, aural unease that truly sets the mood. Layers of Fear does an incredible job of setting up its environment, even within the first ten minutes of gameplay.
Painting with wide strokes
Sadly, after about ten minutes into playing Layers of Fear, it becomes apparent that there is more lost potential than actualized potential. While the atmosphere is initially very well done, the game suffers from repetitive hallways and rooms which make for a boring gaming experience. It is very easy to become turned around simply because many of the rooms look exactly the same with no characteristics that distinguish them from each other. Even the paintings on the walls are repeated throughout the game, which is something that could easily be remedied.
The only exception to this is the occasional horror element resulting in rooms becoming warped or the walls oozing with black paint. This does add a surreal look to the game, giving it a unique look. These instances are few and far between though, and ultimately, they shape the environment very little on any large scale. Overall, it is tiring to see the same patterns and layout in every room after so much effort had been put into initially establishing the game’s environment.
Spooky at best
The scares in the game are almost non-existent for those that have played games such as Amnesia: The Dark Descent,Silent Hill, or most other psychological horror game. The only reason to be afraid is the occasional jump scare. While the jump scares are by no means overdone, they really don’t add much to the game. Oftentimes, the jump scares serve to take the player out of the action and to break their immersion.
Layers of Fear relies more on the psychological element as opposed to the physical, but even that falls short. It seems that the developers felt such a lack of inspiration for their horror game, they made a main character who equally shared their lack of vision. There is no material here that is truly unique. What this game does, other games have done better.
TL;DR
The concept of a struggling artist battling against writers block has a wide range of possibilities, but sadly they fell far short of expectation. The gameplay adds no new mechanics to the genre, the atmosphere (while initially impressive) is generic, and there is no reason to be afraid of anything in the game. Outside of the interesting surreal approach,Layers of Fear is nothing new, and does not have enough material to warrant the widely positive reception it has accumulated.
+Beautiful graphics and music
+Surreal environment
+Attention to detail
-Repetitive
-Scares are cliché
-Generic horror formula
All images from Layers of Fear
Originally posted on February 18, 2016
(09/30/16 7:05pm)
by Jake Doolin
@ClingtoaScheme
This review is based off the Mac and PS4 versions
Is there any concept more American than moving out to the woods and building a life for yourself? That very idealistic view that you could escape from the world and just exists among the plants and animals. It’s ridiculous of course, and yet as far removed from the wilderness as I am (mostly due to gaming) I can say that thought has crossed my mind at least once or twice.
Maybe I’d grow a beard, or more accurately a patchy mustache, and I’d be able to leave behind all the issues in my life. That’s where Henry, the protagonist of Campo Santo’s humorous and often brilliant game Firewatch, finds himself. At the cusp of one of the biggest decisions of his life he runs into a job that gives him that opportunity to escape. But as Henry and the player learn throughout the game, the wilderness takes as just as much as it gives.
In the weak last gasps of the evening’s dying light
Opening with a scene that reminded me of Pixar’s Up in both it’s scope and emotional venerability, the player is introduced to Henry (Mad Men’s Rich Sommer) and his wife Julia. Jumping between snapshots of the biggest moments of their lives together the player begins to see the cracks in their relationship form slowly until an emotional gut punch leads to Henry taking the job in the woods as a fire lookout.
There he meets Delilah (Cissy Jones), his supervisor and only emotional connection to the outside world during his time in Wyoming wilderness. It’s the relationship between these two that makes up the crux of Firewatch’s narrative and the excellent writing from Sean Vanaman (Walking Dead: Season One) manages to capture the budding friendship between the two quite well.
The day-in-day-out experience of being a fire lookout offers up plenty of time for Henry and Delilah to talk about subjects ranging from marriage and pets to an awful pun or two. There is no signpost moments in their exchanges that signal the player to feel one way or the other, instead the game smartly allows their relationship to ebb and flow to a point where their friendship becomes one of the most believable I’ve seen in a game. Sommer and Jones give it their all throughout the game, both shining when the script asks them to lay their lives bare for the other to comment on.
There is a bigger story that starts to come in around the halfway point of the game, the duo begins to suspect there are being watched, but Firewatch never loses its focus on the core bond between Henry and Delilah. The big moments at the end of the game hit harder because of this, instead of thinking about how something would affect a specific character I kept thinking how it would affect their relationship with the other.
All of this comes together in an ending as fine as I have seen in a game in sometime. Connecting all the strands of mystery in a conversation that speaks to the core themes of the game. When the credits rolled, I wondered where Henry and Delilah would be now, how they might have been changed by the events of the game and how much impact they had on one another. Maybe, to a greater extent, how much they had an impact on me.
From the highways to the hills
The Wyoming woods where Firewatch is based offer up their own unique feelings that add to the games narrative. Artists Olly Moss and Jane Ng create a feeling of warmth and mystery through their designs of the surrounding woods. Players will get the pleasure of seeing the sunset over the mountains while also dreading what maybe lurking behind the trees once the night sets in.
This is helped also by the level design, which takes players to caves, lakes and burnt out sections of forest. As the narrative shifts so does the environment. Starting off as welcoming and warm it soon shifts to ashy and chilling as the bigger story comes into play.
There is also a detailed level of care in the environmental story telling. The claw marks on trees and scattered beer cans strewn about make the world feel lived in, which makes some of the later sections of the game feel even more mysterious. All of these elements come together to give the game a very comfortable feeling that lends itself well to the frequent walks on the trail the game puts you through.
Both the Mac and PS4 versions of the game look beautiful, with the Mac version working slightly better and with less framerate drops compared to the PS4. No matter what version you pick though your eyes will be in for a treat.
TL;DR
Firewatch is a game that cares about its characters and its world. Both feel real, offering up sights that stun and words that sting. It’s a story about people who can’t keep running from the issues in their lives, and the way they chose to deal with them will either engulf them or make them anew.
+ Fantastic relationship between characters
+ The finale
+Unique visuals
- Framerate issues on PS4
Originally posted on February 8, 2016
(09/30/16 7:05pm)
by Emily Reuben
Being a fan of Nintendo’s ever-popular Pokémon series, I am always excited to see what new innovations Nintendo and Game Freak will add. With 720 monsters to catch and train, there are almost endless gaming possibilities. Despite the often celebrated replay value of the Pokémon series, some players complain that the formula is far too predictable. In every game you are guaranteed to have a starter Pokémon, train a team, fight gym leaders, and take on the Elite 4.
This can easily become tiresome to some players. This is where the Mystery Dungeon spin-offs really shine through. Instead of trying to be the greatest Pokémon trainer, the player is turned into a Pokémon themselves and the ultimate goal is to explore dungeons. The newest edition to the Mystery Dungeon series, Pokémon Super Mystery Dungeon, adds progressive battle mechanics, new areas, and an interesting story, while continuing to improve on what that had originally made the series a hit.
What kind of Pokémon are you?
As in every Pokémon Mystery Dungeon game, the player is required to take a quiz to determine which Pokémon they will become and who their partner Pokémon will be. The questions are extremely vague, but even so, they serve a purpose. Every answer selected helps to determine which Pokémon character the player’s personality aligns with. Something great that has been added is the ability to reject the quiz’s result, meaning that the player does not have to be stuck playing a Pokémon they do not like.
After the quiz, the player is shown a cut scene set in space. Two legendary Pokémon, Deoxys and Rayquaza are introduced to set the tone for the game. Rayquaza has left its normal territory, worrying Deoxys, who states that there must be something awry.
From this scene it is apparent that something ominous is about to take place. With this in mind, the player wakes up as a Pokémon, confused about their past. During the beginning of the game, a series of tutorials take place, which can be quite tedious. For players that are well acquainted with the series, the tutorials will probably be extremely obnoxious. They are not skippable and last for the first few dungeons.
Personality no longer second to dungeons
The plot is nothing too complicated. The game is certainly more focused on exploring dungeons than it is with character development or story. This is one area that every Mystery Dungeon game falls short in. Characters are never given too much personality outside of “wanting to be an explorer”. Super Mystery Dungeon succeeds in adding much needed character to a series with emotionless partners and non- playable characters. The player’s partner Pokémon has flaws and goals. The player’s Pokémon reflects on certain situations depending on which options are selected. With these advances, characters seem to be much more relatable and amusing than those in the past.
A whole new world to see
This game is much bigger than any of the previous games. Instead of being confined to one small town and multiple dungeons, Super Mystery Dungeon allows for the player to explore 5 new continents. This makes the game feel bigger and more alive. There always seems to be a new dungeon area to explore. The dungeons are each randomly generated, meaning that each time exploring will be different than the last.
Vibrant cutscenes and game world
Super Mystery Dungeon looks very similar to the previous installment, Gates to Infinity on the Wii U. The character models are in 3D, making Super Mystery Dungeon the first handheld Mystery Dungeon game to transition to 3D models. The models look great and really help to make the game feel more immersive. Cut scenes have much more character to them because the 3D models allow for more movement and expression than static pixels. For the most part, the game utilizes bright colors to give it an innocent appearance. This works very well during some portions of the game, however, there are instances when this appears childish and does not fit the tone of the story.
While the design is by no means perfect, I would say that this is the best looking game in the Mystery Dungeon series because of the added motions of the characters and detail to environmental design.
Updated gameplay
A few of the newer gameplay mechanics are derived from advances in main series Pokémon games. For example, Mega-Evolution and Awakening have been added to reflect additions in Pokémon X and Y. This adds many new Pokémon and types available for gameplay, which is always a nice feature. The most useful advance is the addition of team sets. This allows a player to make pre-set teams for dungeons and select a team whenever entering a dungeon, removing the need to make a tedious trek for a favored teammate. New held items called “Looplets” allow a character to collect “Emeras.” Emeras give teammates a temporary stat boasts while in a dungeon. Some of these boasts effect statuses like defense and attack, making the Pokémon stronger, while others allow the Pokémon to avoid traps and stat reductions, essentially allowing for more personalization regarding teammate abilities and strengths.
TL;DR
Pokémon Super Mystery Dungeon is an excellent addition to the Mystery Dungeon series. While the game is still extremely simplistic in regards to story and character, there is much more focus in both of these areas than in previous installments. Dungeons also have many new mechanics which allow for many strategic styles of gameplay. With a combination of new dungeon mechanics, interesting characters, and an updated game design, Super Mystery Dungeon appeals to longtime fans of the series and newcomers alike.
+More character personalities than previous games
+Ability to choose characters
+Many new gameplay mechanics
+Multiple new areas to explore
-Childish looking
-Annoying tutorials
Originally posted on November 24, 2015
(09/30/16 7:03pm)
Intro, Birthright, and TL;DR by Jake Doolin
@Clingtoascheme
Conquest by Graham Taylor
If you were to tell me four years ago that the Fire Emblem series would be making a comeback I wouldn’t have believed you. The series was on a downslope in 2012 after poor sales from its last few games and a general lack of interest in another game. A final game, Fire Emblem: Awakening was planned for the 3DS for the following year and was set to finish the series proper.
Thankfully though, Awakening managed to sell well enough to bring us to now and the newest game in the series, Fire Emblem: Fates. And in a way one could look at Fates as the series victory lap, where at one point it seemed to be all but doomed it now boasts its biggest sales yet. But even beyond sales Fates feels like the culmination of decades of work and care, taking all the best elements of the series thus far and creating a game that works as another entry as well as a love letter to fans.
Birthright
Kotaku
Taking a cue from Pokémon, the newest Fire Emblem game comes in two different versions, Conquest and Birthright. For newer players, or ones looking for a more relaxed experience, Birthright should be the first of the two they play. Offering more opportunities to grind for experience and earn gold, Birthright is more focused on letting players enjoy the story instead of challenging them through gameplay. Luckily for players, Birthright offers up one of the more enjoyable stories in the series so far. If you were put off by Awakening’s multiple timelines and branching story like I was, you might enjoy Birthrights more straightforward approach. If nothing else, this type of simple narrative, two warring families vying for control of the land, opens up more time to spend with the well-rounded roster of characters.
From a bread-obsessed samurai to a humorously lazy archer, the cast of characters in Birthright are all wonderful and the writing helps give even the most out-there characters moments of humanity. Even more so than the main story, which is fine in it’s own right, the individual character stories make the game. Learning more about a friend’s backstory or helping solve family disputes connects you to them on a deeper level compared to most RPGs. The best thing that can be said about these characters is that they offer up the same feeling I got from my named XCOM characters when I send them into battle in that I really cared for their safety.
It helps too that battles are filled with opportunities for success and failure which makes every skirmish tense. The game finds the right balance of terror and cheer every time you plan an attack as you know you're only a step away from complete destruction or a triumphant victory. The maps in Fates offer up a greater sense of life compared toAwakening. Where that games levels felt mostly static, Fates feel alive with moveable terrain and obstacles.
Outside of battle, Fates struggles to keep that level of investment. The overworld castle offers up some minor activities, a daily lottery and the occasional coliseum battle, but little more to hold your attention. This is odd because the game really wants you to spend time there, offering a ton of buildings to build and shops to peruse, but they don’t really add up to anything significant. The buildings are nothing more than 2D landmarks and the shops are useless unless you’re really into putting odd bows and hair pins on characters. It’s a shame then that Fates couldn’t take what they learn from the engaging combat and relationships onto the castles.
Birthright is Fire Emblem at its best, offering a fun and emotionally investing experience.
Kotaku
Conquest
For fans looking for more of a challenge, or similar experience to previous entries in the Fire Emblem series, Conquestis the way to go. With a more streamlined campaign consisting of only story, paralogue, and the occasional invasion mission, gold and experience are harder to come by, greatly increasing the difficulty.
While the setting of two warring kingdoms isn’t exactly new for the series, it works for Fates, especially in that you can eventually experience both sides of the struggle. Despite Nohr being painted as villains from pretty much the start of the game, the story is deeper than just good guys versus bad guys, and the Conquest path offers some insight into that. The drama is interesting enough to keep players engaged, and as a whole the plot is one of the stronger, more distinct in the series.
The cast this time around is also very enjoyable, if a bit quirky. Like Awakening, unit supports are a large portion of building a strong team. Aside from stat boosts, building support can eventually lead to characters marrying and having children, who can then become usable units.
Polygon
On top of that, some of the best moments in the game are just watching two characters’ friendship unfold, which leads to some of the strongest and sometimes most personal writing in the game. While not all the characters are well-written, the ones who stand out shine brightly, and the others in no way bring them down.
The castle, which replaces the barracks from Awakening, appear between every level. Here, players can customize their own unique fort, constructing and upgrading shops, resource farms, and other such buildings. They can also manage inventories, boost stats, build support, and interact with their units in a number of different ways. Overall it’s not too deep, the variety of things to do make the castle an enjoyable way to cool off after a long battle.
Battle is where Conquest really shines, though. With gold and experience being finite resources, every decision on the battlefield matters. One attack could lead to a unit leveling up, but it could leave them exposed. On the other hand, you could charge in with your most powerful character, but your other units would miss out on the growth. These choices persist throughout every level, keeping the action tense and focused.
89 Ravenclaw
A wide variety of mission goals also keeps the game from going stale. Unlike Awakening, which consisted mostly of routing enemies and defeating bosses, Conquest switches things up constantly.
Defending certain areas, escaping the map, or defeating disguised enemies are just some of the many objectives players will have to complete. Dynamic maps also help keep things fresh. Players can manipulate certain aspects of maps, such as flooding or draining rivers, or destroying obstacles to create new paths. This adds another dimension of strategy to the game.
Fates has also overhauled the pair up mechanic from for the better. Units can support each other by either standing adjacent to each other, or stacking one on top of the other, effectively becoming one unit in a “guard stance.” When in guard stance, the controllable unit will gain a stat boost, while the other unit will be completely safe from harm, sometimes blocking attacks.
Adjacent units allow the player to be more offensive, and will both attack when one unit attacks. However, neither will be completely safe and the stat bonus isn’t as great. The fact that enemy units also take advantage of these stances make encounters all the more challenging.
VG247
Overall, Conquest is a great addition to the series, and is something both old fans and new can enjoy, even if it is a bit trying at times.
TL;DR
Conquest and Birthright offer up the best examples of why this series matters so much and will continue to matter down the road. The excellent gameplay mixed with a robust relationship system makes for a game with tons of replay value.
With the series place in gaming secured for now, fans can enjoy this newest Fire Emblem not as finale but as the start of something grand.
+ Relationship system
+ Gameplay some of the series best
+ Simple narrative is engaging
- Castle system is barebones
Image Sources: Kotaku
Originally posted on February 29, 2016
(09/30/16 7:02pm)
by Jake Doolin
@Clingtoascheme
There is a good chance that when you saw a game titled That Dragon, Cancer, someone popped into your head. Be it your family member, friend, or acquaintance, cancer is all too familiar for many of us nowadays. We all have some kind of personal connection to cancer; for me, it was my Aunt Sandy. Because of that, cancer has become something of a hard subject to discuss broadly. We know the pain and confusion that cancer brings on a singular level because we see it, we felt it, but when the statistics of cancer come up, (13,000,000 living with the disease in 2012 alone) it becomes hard to comprehend. This is the challenge that That Dragon, Cancer tackles head on, attempting to tell not just the cancer story of Joel Green, but manages to tell a story that encompasses cancer as a whole. And while the game is inconsistent, it still manages to soar.
The Diagnosis
Joel Green was only a year old when he was diagnosed with cancer. Over the course of the next four years, he and his family experience the most harrowing and painful time of their lives, culminating in Joel’s death in 2014. The thought of somehow turning that experience into a game seems impossible, but developer Ryan Green and his wife Amy, who wrote the script, managed to turn this tale from one of woe into one of hope.
Told in short five- to ten-minute vignettes, That Dragon, Cancer follows Joel through his fights with cancer as well the Green family’s attempts to deal with it the best they can. Moving backward and forward through time, the story mixes the real and surreal in a (usually) seamless way. Segments may start in a hospital and end in the vacuum of space and, to the game’s credit, the shift feels natural. Some of the game’s rawest moments, such as the scene where doctors tell the Green family their son has weeks to live, are underlaid with dreamlike moments that heighten the emotion. While this mix of dreams and reality can be distracting, the times where it works create a feeling that elevates the game’s story to new emotional peaks.
That Dragon, Cancer’s narrative is not an easy one to endure; though the level of insight into their lives that the Green family grants you through audio messages and diary entries can be overwhelming sometimes, the game is always grounded in a sense of hope. By the times the credits rolled, I was crying not only because I was sad for the loss of this child, but also because the game affirms that he had a good life filled with love from a family that clearly cared about him. Joel’s story is not unlike many others’ cancer stories, filled with heartbreaks and triumph, and it’s because of this that That Dragon, Cancer is able to convey its story so well to so many. It knows cancer is around us all and yet it also knows we are ready to fight it.
Metastasis
While the game’s narrative works so well, it’s actually the game aspect of That Dragon, Cancer that makes for the game’s few missteps. While the game’s mix of the real and surreal can be a great driver of emotion when it works, the times it doesn’t often ruin the emotional impact of a scene. During these segments, the games usual point-and-click style is switched to anything from a Balloon Fight style platformer to a Ghost’n’Golbins style hack-n-slash.
Most jarring is when the game punctuates what might have been the most impactful moment, a voicemail from Amy discussing their son’s failing health, with a kart racer segment through the halls of the children’s ward. These traditional “game” segments do only harm to That Dragon, Cancer’s tone which made for an odd gaming experience that had me weeping one moment and scratching my head the next.
The best moments of gameplay in That Dragon, Cancer comes from the quiet moments. Walking around Joel’s hospital room, pushing him on the swings, e.t.c. These are when the player really feels an attachment to the characters and because of that, they become all the more memorable. It’s almost amusing how the removal of the more traditional “game” moments in the narrative would improve the game’s overall quality, allowing for the player to fully lose the fear of being pulled out to “do” something.
TL;DR
When I first heard of That Dragon, Cancer all I could think of was, why? Why would you want to relive this moment of your life; why would you want to remind yourself of your child whose life was cut short; why would you try and make that a game? After playing the game, I completely understand.
That Dragon, Cancer matters because Joel mattered.
You can feel how much Joel mattered to the Green family through the game they lovingly constructed in his memory. Even with its flaws, That Dragon, Cancer is a game that succeeds not only in telling a story of cancer, but of a family whose love shines though the screen.
+ Beautifully written narrative
+ Mix of real and surreal
- Traditional “game” elements halt emotion
Images from: Indie Megabooth, PC Gamer, Wired
Originally posted on January 13, 2016
(09/30/16 7:00pm)
by Jake Doolin
@Clingtoascheme
This review is based off of the Mac edition
The complaint of "style over substance" is usually leveed at media that really doesn't desrve it.
Often it's the media with the most defined aesthetics, films like Drive or the work of the PC Music collective come to mind, that gets lumped into this category. Doing so fundamentally undervalues the deeper themes games like these present under the well-defined looks and sounds of their exterior.
Hotline Miami comes to mind when thinking about the "style over substance" trend. Where many put that game into a box because of its style, those who dove deeper found a thoughtful narrative about the implications of violence.
For any media to truly be defined as style of substance, it needs to have nothing going on for it outside of its core aesthetics. Superhot is unfortunately one such game, offering a compelling look and feel but offering none of the insight to make it truly memorable.
Real Human Being
A promising start to the game's narrative had me hopeful, but as it continues along its two hour runtime it becomes clear that developer Superhot Team has no idea what they were doing. Going from a fairly interesting plot about two acquaintances hacking their way into a company's servers to play an unreleased game to a lame conspiracy thriller that attempts to bring out the same thematic points as Hotline Miami give the game tonal whiplash.
For every moment of brilliance, such as a sequence where the palyers visit themselves playing the game, there are two or three that make you shrug. A good example of this is when the game force quits around the halfway point in an attempt to startle the player. This could have been a powerful moment if it hadn't been done more successfully by other games in recent memory, like Undertale. So instead of being frightened I was merely annoyed, as I had to wait five minutes for the game to boot back up again.
I almost wish the game hadn't tried as hard because, when it's not shoving conspiracy and faux-deep ideology at the player, the game can be pretty immersive. It's easier to connect to a game narrative like Hotline Miami's, which gives the player scattered pieces to the puzzle, over Superhot which gives you the whole box.
Under Your Spell
If there is one thing that will keep me coming back to Superhot, it is the gameplay and design of every level. Superhot's core mechanic of enemies moving only when you do makes every level feel like a John-Woo style action film. Jumping in slow motion into a group of thugs while carefully disarming them gave me a real feeling of being powerful in this world. Even with a limited supply of weaponry, an assortment of guns and melee tools, the game never felt stale when it came time to make some folks dead.
The inclusion of an endless mode as well as a selection of level-specific challenges gives you even more reason to continue playing for hours. It also helps that the design is so unique. Every level presents a white concrete jungle of obstacles populated by crystalline baddies. It can't be overstated what a treat it is to blow up an enemy and watch them burst into a collection of crystals that move and crash in slow motion. More than once I had to stop my carnage to just marvel at how beautifully the game rendered that destruction.
Sadly, however, it's not uncommon to experience total game crashes during these moments. Over ten different times I had to restart the game after a crash during the challenge mode which left me more than a little sour. When it does work, the gameplay and design of Superhot offer a beautiful look at utter devastation.
TL;DR
More than likely I will be returning to Superhot over the next couple of weeks. While its story and deeper themes are muddled, its gameplay and design work well enough to keep my interest. It's hard to say how long I'll be invested in Superhot, because, like all style-over-substance media, it's fun in the moment but once the next piece of vapid media comes out, it's quickly forgotten.
+ Gameplay is a unique twist on the shooter genre
+ Design mixes well with gameplay
- Narrative that tries too hard
- Frequent crashes
Originally posted on February 29, 2016