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azzydoesstuff · 4 months

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ultrakill update review!!!!

SPOILERS AHEAD SPOILERS AHEAD SPOILERS AHEAD SPOILERS AHEAD

IF YOU HAVEN'T PLAYED THE UPDATE YET FUCKIN' DO THAT NOW

okey now for the review:

7-1: GARDEN OF FORKING PATHS

i mean, it was fine. pretty good i guess. the atmosphere was wonderful, sure, but on my first try i spent 90% of the time tryna figure out what i was meant to do. i mean, i get that its SUPPOSED to be like a maze, but when actually gets you lost it kinda goes from "cool and lore accurate" to "lore accuracy at the cost of mild inconvenience". the second half of the level w/ the minotaur was sick, though. i will admit, i DID rage the first time i fought the minotaur cause its kinda not obvious what you're supposed to do to hit him (that stomach hitbox is the size of a fuckin hair) but after you get the hang of it, its a neat fight. i do feel like the railroad situation was kinda wasted by only bringing in 2 trams with enemies and then starting the bossfight with the third one. it woulda been cool to see many trams come and go with enemies on 'em, but oh well. also, jumpscare warning, thanks. very funny hakita. cool joke cool prank there. you got me with that one

7-2: LIGHT UP THE NIGHT

good level. i loved that war aesthetic and shit. the subway station area was a bit mid, and the hook platforming was kinda boring, but not that big of a deal. it introduced my favorite enemy of the update, which is a plus. *cough cough* guess which enemy i'm talking about *cough cough* gutterman *cough*. the challenge was actually pretty creative. wasn't easy to figure out, but also didn't take me like an hour. the archive area where you had to take the correct path was cool, the area just looked cool in general.

7-3: NO SOUND, NO MEMORY

imo: best level aesthetically, kinda mid gameplay-wise. i will admit i may or may not have shat pant when scary flashlight intro. in general, the level layout is spirally at best and messy and confusing at worst, but it's made up for with the amazing cherry blossom trees scenery. the blood tree thing mechanic was actually a really cool idea (also the trees are pretty) but i feel it was executed kinda badly. the whole blood monsters thing just feels weird. i think it'd have been better if it was just normal enemies whose blood fed the tree. the final area was really cool though, nice to see the dual wield powerup back in action. the whole infighting mechanic was also neat, with the way it gets wat harder if you mark yourself for death and disable it.

7-4: ...LIKE ANTENNAS TO HEAVEN

this level is just... mwah! climbing up a colossal machine was awesome, the idol shield area was cool with the time limit and stuff, the escape sequence at the end was awesome (i love escaping from crumbling/soon-to-detonate buildings in games). everything about this level was absolute perfection... except for the bossfight itself. both of the bossfights, actually. look, the defense system had a cramped arena with lackluster attacks and the whole fight was generally really boring and stupid. did not have fun at all. just move around in a circle to dodge the laser while you attack the turrets, ooooooohhhh thrilling... and don't even get me started on the core fight. absolutely idiotic. i hated it. the spinning laser walls felt awkward and the idol shields were infuriating. it sucks so bad that one of the laser walls is at an awkward height that requires you to dash mid-air to move at its level. the whole level was great but the bossfight ruins it for me, really.

ENEMY REVIEWS

MANNEQUIN:

honestly, not a big fan. the design and lore are good, but the attacks are just... annoying. its like a fly that pisses you off from afar. just buzzing around, making itself your problem. they really felt the need to give them prime boss-style combo melees and mindflayer's horrid homing projectiles, huh?

GUTTERMAN:

easily my favorite enemy of the update. i love it when enemies are easy to parry/style on. so satisfying and dopamine-inducing. when i saw the teaser i thought their machine gunning would be annoying, but surprisingly they're only really a virtue-level threat if you ignore them for too long and that's about it. very nice enemy

GUTTERTANK:

easily my LEAST favorite enemy of the update. super inconsistent, fast moving makes it hard to follow, random explosions everywhere with me having no idea where they're coming form, AND you can't even get close to them to heal because they just fly-swat you right away with an unparryable smack. the terminal says to bait out the attack, but the cooldown is so small that they can just do it twice. better off just dash-boosting through the hit to ignore it.

MINOTAUR:

hated at first, but now grew fond of it once i've mastered its patterns. it was like fighting the ferryman all over again, really. i felt cheated and as though it was unfair at first, but once you get the hang of him he's really not that difficult to deal with. also, really sad lore. sorry minotaur.

EARTHMOVER:

i mean what's there to say about it. i already talked about the fight in the 7-4 section what's there even to say here. cool design, i guess?? nice lore entry...?

BIG JOHNINATOR:

big johninator

NEW FEATURE REVIEWS

sharpening of some pixelated textures:

they made the projectile and maurice charging laser sprites less pixel-ey. i'm not too happy with this change, actually. i thought it looked fine, now it just looks... weird.

charged freezeframe rockets:

if you hold a rocket frozen for a second, it'll turn blue and "supercharged", causing its explosion to be WAYYY bigger when shot. this allows for INSANE new nuke tech, it's unbelievable. compare the size of the previous biggest possible explosion (shotgun core + malicious railcannon) and the one you get now with charged rocket + malicious railcannon, it's unreal. literally the size of the cybergrind arena. this changes EVERYTHING. i'm like 90% sure this massive explosion size is unintentional and is getting nerfed within a week.

dying mindflayer knuckleblasting:

when a midflayer is doing its death animation, you can punch it with the knuckleblaster to make it go flying and firing its laser everywhere and exploding after a bit. it's actually fucking hilarious but has zero use in-game because of how situational and difficult to pull off it is.

#ultrakill #ultrakill violence #ultrakill layer 7 #ultrakill act 3 #ultrakill review #review

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crossf15 · 1 year

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Dragons Dogma 2

Second time trying to write this since I accidentally deleted a paragraph, and attempting to ctrl Z completely broke my post, lmao. Here's a wishlist of things I'd want in Dragons Dogma 2 when it comes out in three to six years.

Class differentiation - The class system is one of the most appealing parts about Dragon's Dogma, the ability to pick up and change classes on the dime makes the game very flexible to how you want to play. My only issue is that some classes kind of come across as unfinished, or too similar to one another. Here's what I'd change about the existing classes, assuming we're getting mostly the same classes in the sequel

Red Classes:

The red classes are admittedly my least favorite, but I don't hate playing them or anything. I don't hate playing any class in this game, which is a testament to Capcom's skill at making punchy, satisfying combat in pretty much every game they make. I just think they need a little flavor blast is all.

Fighter - I think it would be really cool if they leaned into the defensive qualities of fighter even more, perhaps making them a kind of fencer with thin swords and bucklers, and having even more of a focus on counterplay. Maybe each time you successfully parried an attack you received a stacking damage buff that kept going up until you finally attacked, like Royal Guard style in Devil May Cry.

Warrior - While I don't think it's a bad class, it definitely got the short end of the stick. It doesn't have the damage or versatility of Strider, the defensive superiority of Fighter, or utility of Mage, and it's the only class to only have three ability slots, and no real mobility options. Overall it feels really unfocused. I get the impression that it's meant to be a tanky agro-drawing knockdown specialist, but it's kit is too limited to really pull it off as effectively as other classes perform their own specialties.

Personally, one huge thing I'd change about Warrior, would be to give it a big distance clearing move like a big horizontal long jump, or maybe an vertical super jump. It would really put the class' physical strength on display, and let them play much more aggressively like they're intended to. I'd also expand their list of core skills to make up for their lack of ability slots (And also so they can do something other than jumping light attack)

TL;DR, I think Warrior sacrifices too much for too little, and giving them some mobility, and expanding their options in combat would really make the class feel better to play.

Yellow Classes:

Definitely my favorite of the bunch, I've always been a huge fan of the ranger/hunter archetype in fantasy media. Bows and arrows, dirty cloaks crafted for function more than fashion, the wild hunter aesthetic, resourcefulness, the color green. I get the very strong impression that they're the devs' favorites too. The climbing mechanic, a core gimmick of the game, feels like it was made for the yellow classes specifically.

Strider - Definitely the most versatile of all the nine classes. They have the most mobility: dodge-rolls, climbing superiority, double jumps, cutting wind. They have excellent melee and ranged options, and they can even do some limited elemental damage to boot. They're extremely powerful in just about every scenario you can throw them in, in fact, I (And most of the player base) would argue they're a little too powerful. (They also have access to all the specialized arrow types, which are pretty broken in of themselves, especially if you have the coin)

It's fine to have a jack of all trades class, that's actually something I really really enjoy. I love having answers to almost every scenario, and I'm willing to trade off high damage to do so; I think being swiss army knife is fun. However, Strider doesn't trade off high damage, in fact, Strider does the most damage of any class in the game. Brain Splitter is *the* highest damage ability, absolutely no contest. It also has augments that make it even stronger! My solution is pretty straight forward, Strider should trade off damage output for their versatility, plain and simple.

Ranger - Ranger my beloved. I love long ranged specialists in almost every game. I only have a couple of notes. My first note is that I think they're too aesthetically and functionally similar to Strider. Fighter and Warrior are two wildly different classes with different looks and function despite both being red classes, and I think the yellow and blue classes should get the same treatment. The longbow and shortbow are just too similar.

To fix this I'd change Ranger's signature weapon to a heavy, two handed crossbow, or if you're feeling really spicy, maybe even a primitive rifle of some kind. (like a musket, or a hunting rifle) Strider can keep the bow. You could also make it function differently too, such as giving it high burst damage, but giving it a reload mechanic, making each shot feel that much more impactful.

My other critique is that the daggers, and the skills that Ranger gets with daggers feel like they run counter to the class' design. They don't really don't do anything for them other than act as a last resort when enemies get close, and butterfly kisses don't gel with Ranger's kit at all. Personally, I'd give Ranger some new dagger abilities that better fit with the class' design, such as a backstep to bring them further away from the enemy, or a knockback ability that pushes enemies away. That's all, I wuv you wanger <3

Blue Classes:

Also absolutely adore the blue classes, mage is another huge favorite of mine. It's funny because I normally don't like playing magic characters in games, but Dragon's Dogma's magic is different: It's punchy, it's impactful, it has spectacle. The game really makes you feel like your taming something much larger than you.

Mage - Mage is definitely my favorite of the two. Playing mage really makes you appreciate and understand your pawns and how they work. I never used the pawn commands nearly as much as I did when I picked up mage, it's like playing a funky little RTS. My only complaint is that I really wished they leaned harder into the class' support role. The only thing Mage really has going for it that Sorcerer doesn't is healing (Mage is the only class in the game that can use healing spells, and it's just one spell), and couple unique debuffs, and I think that's a huge shame. There's so much potential to make Mage the ultimate team player they're clearly meant to be.

The solution is extremely obvious too, just give the class more support spells. They could cast jump pad sigils that launch melee classes into the air, or buffing sigils that increase attack and movement speed. Or even better yet, there could be spells that inflict the oiled and drenched debuffs for other casters to combo off of. There's so much untapped potential there. Also, why does Sorcerer get Void Spell and Mage get Halidom, it seems kind of backwards that the more offensive caster gets the cure all spell, and the support caster doesn't...

Sorcerer - Makes you feel like you're casting war-crimes, feels great deleting huge monsters off the face of the earth with tornados of pure darkness. The risk reward of long cast times and huge damage also gives a much bigger thrill than you'd expect from just standing there and waiting for your spell to finish charging. Makes you really appreciate your pawns. No notes.

I have a similar critique for the blue classes that I do the yellow classes, where I think their signature weapons are just a little too similar. Since Mage comes across as a little more scholarly, I'd give them a spell book, and let Sorcerers keep the staves. They'd function exactly the same, but I think it would give them both a lot more of a distinct personality from each other. Additional Note: If you're gonna have enemies that are totally immune to magic, please for the love of god give spellcasters a physical attack. Metal golems are hell on earth if you're running a blue class solo.

Hybrid Classes:

The hybrid classes are the most mixed bag of the mixed bags. They vary wildly in quality and feel. They're intended to combine the specialties of the red, yellow, and blue classes for additional versatility. If you like playing strider, and you like playing mage, now you have a class that combines the playstyles of both, and I think that's awesome, there's only one that I actually have problem with.

Mystic Knight/Magic Archer - Honestly excellent, Mystic Knight does literally exactly what you'd expect it to, you do all the same things as fighter but now you can cast spells and your perfect blocks do magic damage. Magic Archer is the same thing, you do the same things as a strider, but now you do magic damage, and it's honestly the most flavorful and unique class in any fantasy open world game. No notes :)

(Besides the staves, which you have literally no reason to use on either class since you're doing all your spell casting with your other weapons, and giving them unique spells really wouldn't add anything of value, just scrap 'em)

Assassin - A completely different story from the other hybrid classes. It's meant to combine Fighter and Strider, and be a jack of all trades, but Strider already fills the niche of being a jack of all trades. The entire class just kind of comes across as Strider 2. It has moves and augments that are meant to encourage stealth and solo play. (Extremely versatile counter moves that let you avoid damage so you don't need a tank or healer, augments that buff you when you don't have pawns, cool edgy abilities like masterful kill and dire gouge), but it just isn't leaned into far enough.

Personally, instead of trying to be both a jack of all trades, and an edgy, skill expressive, solo duelist, it should go balls to the wall with the latter. I think Assassin would really benefit from having a unique weapon like the other two hybrid classes, one that replaces the daggers/sword, instead just giving you the choice between the shield/bow for when you want to be more defensive, or offensive. Perhaps a light curved sword (Like a katana, sabre, or a scimitar) or maybe twin swords, packed with all the cool edgy I-frame/teleports-behind-you moves that normally would be split between the sword and daggers.

THE MOON - Ever since I found out that the stretch of the game was originally going to take place on the moon, I've been obsessed. I always get a kick out of when I tell my buds who haven't played or are new to the game that the reason why there isn't a moon in the sky at night is because it's cut content; I personally think it's one of the funniest pieces of game trivia out of context.

My biggest hope is that either their original plan of having the moon be the final area finally gets implemented, or it's the big post game expansion dungeon ala Bitter Black Isle. Just imagine, you activate a mysterious rift stone, a cutscene plays showing a beam of light piercing the clouds in the night sky, and you're on the moon babey!

You could be fighting your way deeper down into a dungeon complex underneath the moon's surface to get closer to the truth, or better yet, the moon's surface could be an alternate overworld with it's own hub area, towns, NPCs, and quests. There'd be new super bosses and challenges, maybe even celestial and extra-terrestrial themed enemies. If they wanted to go the extra mile, lowered gravity could even allow you to pull off some crazy stunts involving jump attacks or ranged trick shots.

Conclusion - I am very easily amused, and honestly I think I'll be happy as long as the game's like, actually finished on release and it captures the general vibe of the original. These are just my hopes for the sequel. I didn't make any predictions for new classes, because honestly I expect whatever new playstyle they throw into the mix to be a banger regardless of what it is, and I'm already happy with the nine classes tbh, I just want some minor balance and flavor changes. Either way, I'm very excited for DD2, which makes me happy because I have a hard time being excited for new games now-a-days!

When you're the baddest bitch in Gran Soren, and Gregory steals your heart so now you have to kill him :/

#dragons dogma #dragons dogma 2 #cw suggestive #cw partial nudity

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fuse2dx · 4 years

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June '20

Trials of Mana

Maybe not the highest profile remake Square-Enix have put out in recent memory, but one that was pretty exciting for me. I played a fan translation of the Super Famicom original some 20 years ago, so while it's not particularly fresh in my head, there's just enough there to enjoy some infrequent little pangs of nostalgia. The move to 3D has made for some welcome changes to to combat - jumping adds a vertical element to combat that wasn't present before, and enemy specials being clearly telegraphed and avoidable puts a little more control in your hands. There's still a good amount of 16 bit jank though - combo timing feels unreliable, the camera's often a pain, there's plenty of questionable hit detection, and you definitely wouldn't want to leave your fate solely in the hands of your party's AI. Willing to put most of this aside, what actually mattered more to me was that it still had the kind of playful, breezy nature, it looks and plays nicely, and that it progresses at a nice clip. Party selection will change the way you fight moment-to-moment, but only provides minor and very brief deviance from the main storyline, most of which is the kind of schlocky cartoon villainy that will have you looking for a skip button before it would illicit any kind of emotional response. But you know what? Overall, I still enjoyed it a lot.

So while it may not be revolutionising the action RPG, what it does show is that Square-Enix is capable of acknowledging their history of previously untranslated works, and that they also now have a pretty good template for getting a B-tier remake of such titles out in a reasonable timeframe. Where do I send my wish list in to, team?

Sayonara Wild Hearts

As a one-liner found on the back of the box, 'A pop album video game' is about as on-the-nose as it gets. The old "it's not for everyone" adage is definitely applicable, and its defiance of traditional video game metrics is not in any way subtle. How sophisticated is the gameplay? Not particularly. How long is it? Not very. But how does it make you feel? Now you're talking. It presents a simple but deeply relatable story of a broken heart, and leads from there with a catchy tune into a fast and colourful onslaught of new ideas, perspectives, and concepts. That is to say: it has the potential to make you feel all kinds of things.

One especially celebratory note was how well the game is structured to fit into the album structure it boasts about. Stages flow quickly into one another, and while shorter, more compounding numbers are often about introducing new ideas and themes, moving on to the next is a few simple button presses and a brief, well-hidden loading window away. Inevitably there are more standout stages, those that feel like the hit singles; the longer, verse-chorus-verse type joints that grant the space for more fleshed out visual story telling, and that smartly synchronise their percussive hits, soaring vocals and the like to appropriate beats of play. A lot of the gameplay can easily (and cynically) be reduced to "it's an endless runner", but to liken this to a cheap re-skin of a confirmed hit-maker is to wilfully dismiss so much of what it does better and so much beside. You can play it on damn near everything, and for the time it takes, it's well worth doing.

Twinkle Star Sprites

I've meant to play this countless times before. I've almost certainly passed it by while strolling through arcades, the Saturn version has never been hoovered up into my collection, and the PS2 collection this particular version belongs to - ADK Damashii - is no longer a cheap addition to anyone's library. The digital version of it for PS4 however was however recently on sale at a point that saw me receive change from a fiver. David Dickinson would be proud.

Having now credit-fed my way through the game's brief arcade mode, there's no doubt in my mind that the nuance of its systems are going to be glossed over in this rather ham-fisted appraisal. At least at face value, there's plenty of character and charm to appreciate in its colourful and cutesy style. As a two-player, vertically split-screen title, its a pretty clean break from a lot of a shooter's typical characteristics - rather than 6(ish) stages of hell, its a series of one on one battles - and all the better suited to 2 players for it. As enemy waves come at you, taking them out in chains can generate attacks to the other player; however if these attacks are too small then it's entirely possible they'll be killed off again, and an even bigger attack will come straight back at you. Think of a bit like competitive Tetris, but with shooting rather than puzzling. It's a neat and curious little game, that's likely best experienced properly, with a friend on the other side of the sofa to hurl abuse at.

Blasphemous

Let's get the lazy-but-effective description out of the way: it's a 2D MetroidVania Souls-like. You've got "that" type of map, definitely-not-bonfires and definitely-not-Estus Flasks. You are encouraged to return to your body upon death, the combat system is very reliant on parries and dodge-rolls, and there's even a dedicated "lore" button to use on every item you pick up.

While this likely sounds dismissive, it's more about addressing the elephant in the room. To give some context, these are both types of games that I love, and the end product here has done a pretty good job of bringing them together. The exploration is pleasantly open - gatekeeping is typically done less by specific items and abilities, and more by just which areas you're brave enough to poke your head into. It's a little bit of a shame that most of the new abilities have to be switched out for others rather than adding to a core arsenal of moves, but at the same time its base setup gives you plenty of ways to deal with any number of combat scenarios. This is of course best demonstrated by the boss encounters, which are wonderful affairs - big, gruesome, thoughtful variations on approaches to combat, which drop in at a nice pace to keep you from ever getting too cocky. The theming in general is wonderful, and the name is certainly appropriate - there's a lot of deep catholic inspiration in its gorgeous backdrops and environments, but then layered on top are some chilling elements of religious iconography, along with a cast of disturbing devotees and martyrs to sufficiently unsettle you. It's arguably a small intersection of the gaming population that it'll appeal to, but if you're in there, it's a real treat.

Death Come True

The first thing you see upon starting is the game's central character breaking right through the fourth wall to tell you directly not to stream the game or to share anything that might spoil the story. The first rule of Death Come True, and so on. I consider myself fairly well versed in such etiquette, so to then have the screenshot function entirely disabled for the whole game felt a little like being given a slap on the wrists for a crime I had no intention of committing. I don't envy the team trying to market it, that's for sure.

The reasoning behind this is clear at least - it's a game that is in total service of its plot. Consider a mash-up of a 'Choose your own adventure' book and a series of full-motion videos, and you're mostly there. Unless you were to walk away from the controller or perhaps fall asleep, there seems very little chance that your play time will deviate from the 3 hour estimate - which will certainly put some people off, but is understandable given the production values, and personally, quite welcome in the first place. In terms of replay value, there are branching paths that a single route will obviously skip: as an example of this, in looking up a screenshot to use in lieu of taking my own, I found a promotional image of the central cast, only to not recognise one of them at all. One thing that such a short run-time does ensure though, is that minute-for-minute, there's plenty of action; without wanting to speak about the story itself (rather than in fear of reprise for doing so, I might add), it kicks off with plenty of intrigue, shortly thereafter switching to full-on action, and then strikes a pretty fine balancing act between the two for its run time. It doesn't get quite as deep or as complex as I would've hoped given the team's pedigree, but I do like it, and think it'd actually be a pretty fun title to play with folks who normally don't concern themselves with games. By the same token, it's probably not for the 'hardcore' types looking for something to string out over dozens of hours.

Persona 5: Dancing in Starlight

After the generous main course that was Persona 5 Royal, I figured that I'd follow up with dessert. I did however wait until a weekend where I knew my girlfriend would be away, so as not to trigger any unpleasant flashbacks to looped battle themes, and the chirpy, indecipherable voices of Japanese schoolkids that made it so painful to endure as a non-gaming cohabitant.

Immediately, it's clear that very little has changed since Persona 4's take on the rhythm action genre. The core game, while still functional and fairly enjoyable, hasn't changed a lick. Perhaps the most notable improvement to the package as a whole is in scaling back on a dedicated story mode, and instead just having a series of uninspired but far less time-consuming set of social link scenes that pad things out. The biggest flaw is repeated wholesale though, in that trying to stretch out noteworthy tracks from a single game's playlist into a dedicated music game leads to repetition - and there is a much less prolific gathering of artists involved in remixes this time. I'd be willing to wager that it's a very similar story once again with Persona 3: Dancing in Moonlight, but I'm not about to ruin a perfectly good dinner to start with the sweet just to find out, if you'll excuse a second outing of the metaphor. Still, again compare these to Theatrhythm though - where Square-Enix plundered the Final Fantasy series in its entirety, along with spin-offs and other standalone titles to put together a library of music worthy for the one single game. Cobble the tunes from Personas 3-5 together into one game, and you're still coming up very short by comparison.

#trials of mana #seiken densetsu 3 #sayonara wild hearts #twinkle star sprites #blasphemous #death come true #persona 5 dancing in starlight

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baphomet-media · 4 years

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Top 10 Games I Played in 2019

Another year has gone by just like that, and here we are with another year’s worth of games played! There were some good releases this year, and I’m excited to talk about them all. Before that, though, let’s touch briefly on the criteria for these lists:

Any game that I played for the first time in 2019 is eligible, regardless of initial release year. Games that I started late in the previous year but spent most of the time playing in the year in question also count.

Ports, remasters, remakes, etc. of games that I have played before do not count.

I have to spend a certain amount of time with a game or the game has to make some kind of significant impact on me to be considered.

Lastly, these are just my opinion out of a very limited pool of games that I was personally able to get to this year, so if a game you played this year doesn’t show up, chances are either I didn’t have a chance to play it, or it just wasn’t personally as impactful to me as some of the others on the list. Now, on to the list!

10. Fire Emblem: Three Houses (Switch)

Developer: Intelligent Systems / Koei Tecmo

Publisher: Nintendo

Genre: Strategy RPG

Release Date: July 26th 2019

Before Three Houses, the only Fire Emblem game I played was Awakening on the 3DS. I mostly enjoyed it, but I couldn’t get into the marriage aspect of the game, and I felt that many of the battles a bit too lacking in any sort of story context other than “There are bad guys here, let’s take them out!”

However, Three Houses really succeeded for me where Awakening failed. The academy was a really great home base and actually gave some meaningful context to most of the battles in the game. I really enjoyed micromanaging the different lessons in the game and tweaking each of my students into exactly the build I wanted for them, however I felt the drawback of this was that there weren’t really a whole lot of different classes to really explore. Most of the game’s character classes are just stronger variations of lower-level classes, and it definitely felt like some skill categories became woefully underutilized as the game went on, so there was no point in training people for them. I also liked recruiting other students to my house, but I felt like the other houses students didn’t really offer anything that my current house already had, so some students ended up feeling mechanically similar to others.

The battles were exactly what you’d expect from Fire Emblem, and gave me a bit of a tabletop RPG vibe, which I enjoyed, particularly when there were large monsters to fight that took up more grid space than standard units.

That being said, the story was really interesting, and I really liked watching everything unfold. I picked the Black Eagles house (because Edelgard is great), but I felt like that story didn’t really do a great job of explaining everything, and expected you to just side with Edelgard on some of her more bold decisions with no explanation as to why what she was doing was right, which felt kind of unfair. The game really wanted you to go through and play each one of the houses stories, but with around 80 hours poured into a single house, I didn’t really feel like there was much point at the end.

Overall, I think Three Houses is a great fit for the Switch and I’m excited to see what the future of Fire Emblem on Switch will look like.

9. Luigi’s Mansion 3 (Switch)

Developer: Next Level Games

Publisher: Nintendo

Genre: Adventure

Release Date: October 31st 2019

When it comes to Luigi’s Mansion, I enjoyed Dark Moon on 3DS back in 2013 while waiting for Animal Crossing: New Leaf to drop, but I never really had much of a reason to come back to it. Still, I really enjoyed the exploration aspect of the game and the attention to detail really impressed me with how nearly everything could be interacted with.

Luigi’s Mansion 3 on Switch is more of what you’d expect from the Luigi’s Mansion series. The game centers around Luigi exploring a haunted hotel to stop King Boo and rescue Mario and his friends. While Dark Moon focused more on a few isolated mansions with different themes, LM3 brings things back to a single gigantic building. This time, each floor of the mansion has a different spooky theme, from ancient Egypt, to classical music, to a floor overgrown with plants. Luigi has to defeat the boss of each floor to reclaim the elevator button for the next floor as he gradually works his way to the top.

Like with previous games in the series, you can expect loads of environmental interaction, such as all the items you can suck up and mess with using the Poltergust, but LM3 brings some new mechanics to the series, including a launchable plunger than you can then pull on to yank certain objects around, as well as the remote-control Gooigi, who is as fun to use as his name is cursed. Gooigi is basically a slime doppelganger for Luigi who can be deployed at any point to assist Luigi with different tasks, or split up for local co-op play. He also has the ability to squeeze through grates and pipes, allowing all sorts of hidden areas that only Gooigi can explore.

LM3 is a game that oozes with charm (no pun intended), though the combat does get a tad repetitive. Also, I was a bit disappointed that there was not more interplay between different floors of the hotel. They’re almost exclusively completely isolated levels, which definitely takes away from the feeling of having a huge building to explore.

8. Blasphemous (PC)

Developer: The Game Kitchen

Publisher: Team17

Genre: Adventure Platformer

Release Date: September 10th 2019

Blasphemous is a game I remember seeing teasers for earlier in 2019, but saw little to no hype for otherwise. However, the concept and the stunning hi-bit pixel art immediately drew me in. The game is a 2D adventure platformer set in a gothic fantasy world reminiscent of Dark Souls. In fact, quite a lot of this game is reminiscent of Dark Souls, with a lore thicker than gravy that’s brimming with little tidbits of information in every NPC dialogue, every item flavor text, and in the bosses you encounter. The world takes inspiration from Christianity, though not actually being about Christianity itself, instead a fictional religion with many similar aspects (an approach I wish more developers would take).

In Blasphemous, you play as The Penitent One as you explore a rotting gothic world and learn more about a strange quasi-religious curse called The Miracle and other fascinating bits of the world. You explore such locations as rotting cathedrals, a frozen mountain, the interior of a colossal bell set upside down into the ground, and more. Along the way, your eyes will feast on some of the most gorgeous pixel art in games this year.

The Penitent One is able to battle with their sword and certain special abilities picked up along the way. While the combat is fairly simple at first, it gets much more deep and nuanced as you go along, dodging enemy attacks, parrying and countering, using spells to buff yourself or shoot projectiles, and much more. Personally, the game feels a lot like Dark Souls meets Castlevania, particularly Symphony of the Night. It’s definitely a lot of fun, though it may not be everyone’s cup of tea due to tone and difficulty.

7. Mario Maker 2 (Switch)

Developer: Nintendo Entertainment Planning & Development

Publisher: Nintendo

Genre: Action Platformer and Level Editor

Release Date: June 28th 2019

I was a big fan of the idea of the original Mario Maker on WiiU, so I was really excited when Mario Maker 2 was announced for Switch with a plethora of new parts, themes, mechanics, and features. I have a pretty big soft spot for classic Mario games, and level editors really get my gamedev side going, so this game pretty much checked all the boxes for me.

I was glad this time around to see an extensive singleplayer mode, where Mario has to play through Nintendo’s own pre-made levels to gain coins to rebuild Peach’s castle after the Undodog resets it all to nothing. It was a great introduction to the game, particularly showcasing what all you can do with the new parts. It was the perfect thing to get any creator’s brain tingling with ideas for their first level.

The editor itself is largely improved from the WiiU, though you’ll almost certainly need a capacitive stylus in order to really take advantage of the Switch’s touch screen, though it’s nice to finally have a Switch game with proper touch screen support, since it seemed like Nintendo had all but forgotten about this part of the device. There are tons of new improvements here, too, such as all modifiers for objects can be accessed by long-pressing on an object. One thing I wasn’t fond of though was the way the Select and Copy modes are accessed, needing to toggle through them and normal edit mode instead of just having a single button for each.

Unfortunately, the Amiibo costumes have not returned, which would have been a great use for Amiibo on Switch (anyone remember that the Switch is Amiibo compatible?), though with the recent release of the Link costume, it seems that Nintendo has plans in mind for these alternate forms.

Fortunately, if you’re not much of a creator, there’s still plenty to do in MM2, as there are tons of ways to play levels online, including an endless challenge mode with different difficulties, browsing top level lists, and a new speedrun mode where levels are available for a limited time and you can grind them to get your best time, playing against the ghosts of other players’ best times.

All in all, I’ve had fun with MM2, and I’m excited to see what Nintendo will bring to the game in future updates (please implement level playlists).

6. Baba Is You (PC)

Developer: Hempuli

Publisher: Hempuli

Genre: Puzzle

Release Date: March 13th 2019

Out of nowhere back in March came a little indie game known as Baba Is You. In this programming puzzle game, each level contains the rules of the level as physical objects that you can push around and recombine to manipulate how the game plays. Each rule statement can (usually) be broken down into three components: an object (such as Water), a verb (such as Is) and a property (such as Stop). Each one of these components can be pushed around at will, and if you line all three of them up you get the statement “Water Is Stop”, meaning that all water tiles in the level do not allow other objects to move over them. If you break this statement, the water loses this blocking property and you can walk over it. It doesn’t stop there, though, and there are tons of combinations and complicated scenarios that will leave your brain hurting after too long. While some of the puzzles are unfortunately rather obtuse in their intended solutions, and the game doesn’t always do a great job of teaching you the skills you’ll need to face harder puzzles, you at least have the option of completing multiple different levels, so it’s rare that you’ll be stuck on just one.

It also helps that the art for the game is a cute but simplistic hand-drawn style that makes it easy to distinguish all the various elements of each level. The only reason this game didn’t rank higher on my list is that I got stuck and I found most of the levels to be a bit too hard for me (shocking, I know).

5. Gato Roboto (PC)

Developer: doinksoft

Publisher: Devolver Digital

Genre: Adventure Platformer

Release Date: May 30th 2019

Gato Roboto is a cute Metroid-like adventure platformer that sees you taking the role of Kiki, a cat who has to explore an alien planet to rescue her master’s crashed ship. Fortunately, while Kiki is defenseless on her own, she is able to pilot a robotic mech suit to run, gun, and jump across different zones of the planet. While a Metroid-esque platformer is nothing new, it’s the charming 1bit graphics and the interesting interplay between power suit mechanics and suitless cat mechanics. Sometimes there are gaps that the suit can’t fit into or walls that you need cat claws to climb, so you’ll have to abandon your robot suit and proceed on foot for a bit. In true Metroid fashion, you’ll acquire many upgrades for your suit as you go along, including movement abilities and health upgrades.

The game is short, but very sweet, and the mechanics are super satisfying. You could maybe finish the game in a few hours, but the controls and speedrun potential will likely keep you coming back for more.

The only downside I have to the game is that there is at least one section where you have to explore extensively on foot, and since you die in a single hit while on foot, it makes for some frustrating moments when you just barely mistime a jump and graze an enemy. Also, at one point I managed to softlock the game by accidentally bypassing a barrier that the player isn’t meant to and getting stuck in a boss area when a required button doesn’t work after you defeat the boss. Fortunately, the developers managed to patch this, so I was able to continue playing after a while.

4. Hollow Knight (PC/Switch)

Developer: Team Cherry

Publisher: Team Cherry

Genre: Adventure Platformer

Release Date: February 24th 2017

I’ll admit, I was a bit late to the party on this one. Hollow Knight released back in 2017 on PC, and while I played it for a bit on there, I didn’t get far and just never had time to come back to it. However, when it was released on Switch in mid 2018, I ended up picking it up again some time later and gradually worked my way through it into 2019. Hollow Knight is a Metroid-esque adventure platformer with light Dark Souls elements set in a dark and dismal world of a fallen insect kingdom. You play as a lone knight who seeks to explore the Hallownest and learn its secrets. Armed only with your Nail, a rusted sword, you explore the caverns and abandoned civilization beneath the town of Dirtmouth.

The game has tons of exploration, and allows the player to explore Hallownest at their own pace with minimal signposting towards destinations. Additionally, the game has an interesting map mechanic where you start off completely without a map and have to rely on memory to navigate the tunnels, however very quickly you’ll be able to purchase a blank map where you can record rooms you’ve been to at each save point. However this map only works for the current area, so for each area you discover, you’ll have to start this process all over, finding a map so you can chart out the area. While this sounds like a pain at first (and definitely can take some adjusting), it’s actually really interesting as you feel like you’re really discovering a forgotten realm and charting out your own personal course through the world. There are also plenty of points for nonlinear progression, as many areas are often open to the player at once, so it’s up to them to choose where to go (or just stumble across new areas at random like me). Each area offers vastly different visuals, from a mushroom-filled series of tunnels, to an elegant garden, to dank sewers, to a city drenched with perpetual underground rain. In each area you’ll explore every nook and cranny to find upgrades and new abilities.

Along the way, you’ll find many badges that you can equip, a la Paper Mario, that give you various passive bonuses and abilities, however you are limited in the number you can have equipped at a time, so strategic planning of which badges to use is crucial.

One of the game’s main features is challenging boss battles. The further you get in the game, the more the balance shifts from exploration to combat, with the late game mostly revolving around hunting down multiple different bosses. Many bosses are optional, however, and some are even hidden, so many players might miss them entirely. Personally, while I found many bosses to be fun challenges, it got kind of tedious to constantly be fighting bosses at every turn, which led to me not completely finishing the game.

3. Dragon Quest XI S: Echoes of an Elusive Age - Definitive Edition (Switch)

Developer: Square Enix

Publisher: Square Enix

Genre: RPG

Release Date: September 27th 2019

I’ll admit I slept on Dragon Quest XI when it released for PC and PS4 back in 2017. It was constantly on my “maybe someday” list, but it wasn’t until the Definitive Edition released on Switch back in September that I decided to give it a go, and boy am I glad I did.

DQXI tells the story of a young man who finds out one day that he is the reincarnation of a legendary hero called The Luminary, who is said to defeat an evil known as The Dark One and bring peace to the world. However, he soon finds himself hunted by a corrupt kingdom that has branded him as The Darkspawn, claiming he is responsible for bringing The Dark One to the world and causing disaster. Thus, our hero travels the world, meeting friends along the way, and finding out what it means to be The Luminary.

The game’s plot may seem a bit generic, but that’s the thing. The whole conceit of DQXI is that it’s a classic JRPG at heart, but with a lot of modern touches to make it feel accessible today. So while there are plenty of turn-based battles, MP gauges, and a story that’s simplistic at the surface, there are loads of surprises throughout and lots of mechanical tweaks that drastically improve the quality of life of the game. For instance, as characters level up, they gain skill points that they can spend on a grid of skills to improve their abilities in different disciplines. Usually, each character has a sector of the grid for each weapon type they can use, as well as one section full of character-specific buffs and special abilities. By the end of the game, you’ll be able to unlock nearly every ability, so it becomes more of a matter of deciding which abilities to prioritize based on how you want to customize each character.

Speaking of characters, there’s a pretty full cast of characters to enjoy, and I found myself loving all of them, such as the spunky Veronica, the flamboyant Sylvando, or the warrior princess Jade. Each character has their own battle style, too, including casting spells, using strong weapons, buffing the party, and more.

The game will easily get you over 100 hours of playtime, with myself clocking in at around 120 hours so far. I’m not quite done yet, but I’m almost there. See, there’s a ton to do in DQXI aside from the main story, including crafting and improving items in a quick minigame at your Fun-Size Forge, gambling in the casino, horse racing, side questing, and exploring various parts of the world.

As for quality of life features, there are such things as the Horse Hailer, which allows you to immediately summon a horse on the overworld for quick travel, early access to the Zoom spell, which lets you teleport back to any town, important location, or campsite you’ve visited throughout the world for free, campsites being free healing, a speed-up option in combat, multiple auto-battle options, the ability to quick-heal in the menu, and more. It’s hard to really list everything, but there are tons of instances where you’ll think “Oh, that’s really handy”.

The visuals of the game are fantastic, with lots of that Akira Toriyama style that’s become synonymous with the Dragon Quest series. The characters are all really well designed and memorable, though some of the NPCs have a bit of a case of same-face, which is especially jarring considering that the game’s world is inspired by many diverse real-world cultures, making it odd that people from a Japanese-inspired area look exactly the same as people from an area based on northeast Europe. Still, I think the game otherwise does an excellent job at respecting world cultures, and even incorporates real-world languages into different regions. For example, the in-game city of Gondolia is based heavily on Venice, Italy, and the people of that city sprinkle bits of Italian into their dialogue. It’s a charming touch.

The music for the game sounds really great if you enable the orchestral version. Unfortunately, the game originally released with only a synthesized version of the soundtrack, which sounds terrible by comparison. Unfortunately, I felt that although each of the compositions were very memorable and pleasing, there sometimes didn’t feel like enough of them. The overworld, city, battle, boss battle, and dungeon themes are exactly the same wherever you go in the world, and I felt like that was a missed opportunity to really spice up the soundtrack with more unique themes to each area.

Overall, If you like JRPG’s, you’ll definitely like DQXI. My only complaints are that it can be a tad on the easy side, and that there are a few points of no return in the story that cause certain quests to be locked out without warning.

2. Super Smash Bros. Ultimate (Switch)

Developer: Bandai Namco Studios / Sora Ltd.

Publisher: Nintendo

Genre: Fighting

Release Date: December 7th 2018

Was this really a surprise? A new Smash Bros. game releases the day before my birthday? Of course I’m gonna love it! I had been hyped up for Smash Ultimate for months preceding its release, going as far as watching any gameplay videos on YouTube I could find from various demo events and tournaments around the world. Even after the game’s release, there have been tons of content updates, new fighter DLC, and just so many reasons to come back to the game. It doesn’t hurt that one of the most accessible fighting games of all time is available on a handheld system (literally the only reason I played Smash 3DS). Smash Ultimate stands out in more than just its portability factor, though. While it largely recycles content from previous games, it can be seen as the “Ultimate” Smash Bros game, bringing back every single fighter from the series history, nearly every playable stage, and tons of familiar modes. Not only that, but new content is also present in terms of fighters, stages, and more. Long awaited characters include the Inklings from Splatoon, Ridley from the Metroid series, King K. Rool from Donkey Kong, and surprise guests, including Simon and Richter Belmont from Castlevania. On top of that, a plethora of DLC fighters and stages have been added, with the 5th DLC fighter still upcoming and shrouded in mystery.

Most prominent of the new additions is the game’s approach to a story mode. Unfortunately not as robust as the Subspace Emissary from Super Smash Bros. Brawl, The World of Light is still a welcome addition. In this mode, a strange angelic being called Galeem has turned all of the Smash fighters into evil controlled puppets, except, of course, for Kirby, who sets out to free each of the game’s 70+ fighters from Galeem’s control across a large board of levels, each connected by pathways. Each level features a battle against a copy of one of the game’s fighters possessed by a Spirit, essentially the essence of a video game character, and you have to free the Spirit and claim it by defeating the possessed fighter in a themed battle. This was a really nice way of including references to characters across not only Nintendo’s history, but the whole history of gaming as well, including some characters who do not otherwise appear in Smash, such as Shantae and Rayman. These Spirits, once collected, can be equipped to your character to not only improve your power level, but also offer different buffs, such as resistance to certain attacks, powering up your Smash attacks, starting you off each battle with an item, etc. I definitely enjoyed the World of Light mode, though I felt like it was a tad on the shallow side, and battles could get fairly repetitive after a while.

Fortunately, Smash really shines on its core mechanics, and the most fun I’ve had from the game is exploring all the different characters and finding which ones I like best. My current main is Ganondorf, though I still love playing as Ness and Lucas. Really, this is Smash at its best, and a number of much-needed mechanical tweaks, such as dodge fatigue, directional midair dodging, holding smash move charges, and an overall faster pace make this my favorite Smash game yet.

1. Persona 5 (PS4)

Developer: P-Studio

Publisher: Atlus

Genre: RPG

Release Date: April 4th 2017

Okay, wow. What a game. I’ve never played a Persona or Shin Megami Tensei game before, but buzz for Persona 5 was everywhere, and with the inclusion of P5’s Joker in Smash, I had to check it out. Even though I got to the game nearly two years late, I’m so glad I did.

Persona 5 is an RPG where you take on the role of a high school boy (he doesn’t really have a default name, but the most common name for him is Ren, so that’s what we’ll use) who has gotten tangled up in some legal trouble after intervening in a drunken assault on a woman he witnessed on the street. Turns out, this guy was something of a bigshot, and Ren soon finds himself placed under a form of rehabilitation where he is forced to transfer to the illustrious Shujin Academy in Tokyo. While at Shujin, Ren must live under the guardianship of a man named Shojiro who runs a coffee shop. Ren must stay out of trouble at school and live honestly.

However, trouble almost immediately finds Ren again as he discovers a lecherous teacher is mistreating many of the school’s students, and while investigating, accidentally slips into a strange dimension called the Metaverse, where the twisted perceptions of corrupted people are manifested into reality, and a sprawling Palace exists for the evil teacher. There, Ren meets a strange talking cat named Morgana who offers to help Ren if he will help Morgana find the Treasure at the heart of the Palace. Turns out, the Treasure is the manifestation of what caused the person’s desires to become corrupted, and stealing it causes them to lose their distorted emotions and confess.

Thus, Ren becomes a Phantom Thief, infiltrating Palaces and stealing Treasures by night and masquerading as a humble high school student by day. The Palaces are effectively the game’s dungeons, and this is where combat and exploration take place. Along the way, he’ll discover the power of his Persona, effectively an avatar of the user’s personality that enable them to unleash their true power inside the Metaverse, as well as use special abilities. And of course, you’ll recruit many friends to the Phantom Thieves, all of whom have their own motives and Personae. However, Ren has a special power. Instead of just being limited to one Persona, he has the ability to capture many Persona from the Metaverse by recruiting the game’s enemies or fusing Personae he already has to make more powerful ones. Thus the game has a light monster-collecting aspect to it, as each Persona can be leveled up to unlock new abilities, fused with others, and much more. What’s cool is that each Persona must be persuaded to join you by knocking it down in battle and then speaking to it in whatever way you think it wants to hear.

Outside of Palaces, you’ll investigate your targets, infiltrate a mega-palace called Mementos, as well as managing your free time. You see, Persona 5 allows you a limited amount of time to do everything you want to do, and it’s crucial that you manage your student life as well. This means spending time studying for exams, reading books to improve stats, working part-time jobs for money, playing minigames, and most importantly, hanging out with different NPCs, your teammates and supporters, to boost their friendship levels. As you get higher in friendship with each NPC, you’ll unlock new abilities, some of which are truly game-changing. I really enjoyed this aspect, as it felt like a puzzle trying to figure out how best to use my time. Almost nothing felt wasted, but I knew I wouldn’t have enough time to do everything, so I was always thinking about how best to optimize my time. Unfortunately, you can’t do everything in a single playthrough, but fortunately you can carry a lot of your progress over into New Game+. Some features are actually restricted to NG+, so it makes it feel like that second playthrough is really necessary if you want to see everything.

While the dungeons and the battles are mechanically fairly straightforward JRPG faire, the battles are interesting in that each enemy species has its own strengths and weaknesses, and exploiting weaknesses can knock down the enemy and allow you to take an extra turn, which can lead into strong combos. Furthermore, once all enemies are knocked down, you can perform a powerful All-Out Attack for massive damage. It honestly doesn’t get too much more complicated than that, but there is enough depth to the system to keep you engaged until the end of the game.

Each of the game’s characters are extremely well-designed, and I loved pretty much all of my party members, though Yusuke didn’t click with me as well as some of the others, despite being voiced by the amazing Matt Mercer. My favorite, of course, was the imperious Makoto, who appears little more than a bossy student council president in reality, but explodes into flurries of righteous blows in the Metaverse, alongside her robot motorcycle Persona.

Of course it’s impossible to talk about Persona 5 without mentioning the absolute masterpiece that is this game’s presentation. If you know anything about the game, you’ve likely seen the striking art style used in all of this game’s art and UI. It’s honestly every bit as eye-catching and jaw-dropping as it seems. The music is an utter masterpiece as well, with all manner of swingy jazz tunes, somber piano pieces, heart-pounding rock tracks, all of which come together with the visual style to give you something unlike anything you’ve ever played before and to truly make you feel like a suave Phantom Thief.

I managed to not only get through the main game, but get all the way through a NG+ playthrough back-to-back to get that platinum trophy and not once did I feel bored doing so. I clocked in at around 200 hours in total and it was one of the best gaming experiences of my life. If you like RPGs, time management games, good anime-style stories, or just good games, do NOT pass this one up, especially the upcoming Royal version that’s releasing in March.

#gaming #top 10 #top 10 games of 2019 #article

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achronologyofbits · 4 years

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GOTY 2019

I wanted to write a personal Game of the Year list, but I realized I really didn’t play that many games that were new in 2019. So I’m ranking them, but it’s less a “top 10” and more a “10 games I played and how I felt about them.”

10. Kingdom Hearts III

Kingdom Hearts III plays like a game from 2005.

I’m not sure I can fully articulate what I mean by that. Maybe I mean its combat is largely simplistic and button-mashy. Maybe I mean its rhythms of level traversal and cutscene exposition dumps are archaic and outdated. Maybe feeling like this game is a relic from another time is unavoidable, given how many years have passed since its first series entry.

But there’s also something joyful and celebratory about it all — something kind of refreshing about a work that knows only a tiny portion of its players will understand all its references and lore and world-building, and just doesn’t care.

Despite all the mockery and memery surrounding its fiction, Kingdom Hearts’ strongest storytelling moments are actually pretty simple. They’re about the struggle to exist, to belong, and to define what those things mean for yourself. I think that’s why the series reaches the people it does.

Those moments make Kingdom Hearts III worth defending, if not worth recommending.

9. Sekiro: Shadows Die Twice

Admittedly, I only played about 10-15 hours of this in 2019. Perhaps fittingly, that’s about the amount of time I originally spent on Dark Souls when it released in 2011. I bounced off, hard, because I didn’t understand what it was asking of me. Once I did — though, it has to be said, I needed other people to explain those expectations to me, because the game sure as hell didn’t — Dark Souls became an all-time favorite. And I’ve played every FromSoft game since then, and enjoyed them all. Until Sekiro.

Part of it is, again, down to expectation. Dark Souls trained its players on a certain style of combat: cautious movements, careful attention to spacing, committing to weighty attacks, waiting for counterattacks. In every game since then, FromSoft have iterated on those expectations in the same direction in an attempt to encourage players to be less cautious and more aggressive. The series moved from tank-heavy play in Dark Souls, to dual-wielding in DS2, to weapon arts and reworking poise in DS3, to the system of regaining health by attacking in Bloodborne.

In some ways, Sekiro is a natural continuation of this trend toward aggression, but in others, it’s a complete U-turn. Bloodborne eschewed blocking and prioritized dodging as the quickest, most effective defensive option. Sekiro does exactly the opposite. Blocking is always your first choice, parrying is essential instead of largely optional, and dodging is near useless except in special cases. FromSoft spent five games teaching me my habits, and it was just too hard for me to break them for Sekiro.

I have other issues, too — health/damage upgrades are gated behind boss fights, so grinding is pointless; the setting and story lack some of the creativity of the game’s predecessors; there’s no variety of builds or playstyles — but the FromSoft magic is still there, too. Nothing can match the feeling of beating a Souls-series boss. And the addition of a grappling hook makes the verticality of Sekiro’s level design fascinating.

I dunno. I feel like there’s more here I’d enjoy, if I ever manage to push through the barriers. Maybe — as I finally did with the first Dark Souls, over a year after its release — someday I will.

8. Star Wars Jedi: Fallen Order

In December, my wife and I traveled to Newport Beach for a family wedding, and we stayed an extra day to visit Disneyland. As an early birthday present, Aubrey bought me the experience of building a lightsaber in Galaxy’s Edge. And the experience is definitely what you’re paying for; the lightsaber itself is cool, but it’s cool because it’s made from parts I selected, with a blade color I chose, and I got to riff and banter with in-character park employees while doing it. (“Can you actually read those?” one asked me in an awed voice, when I selected a lightsaber hilt portion adorned with ancient Jedi runes. “Not yet,” I told her. “We’ll see if the Force can teach me.”)

Maybe it’s because I just had that experience, but by far my favorite moment in Jedi: Fallen Order is when main character Cal Kestis overcomes his own fears and memories to forge his own lightsaber, using a kyber crystal that calls to him personally. It’s maybe the only part of the game that made me feel like a Jedi, in a way the hours of Souls-inspired lightsaber slashing didn’t.

I think that’s telling. And I think it’s because so much of Fallen Order is derivative of other works, both in the current canon of gaming and of Star Wars. That’s not to say it’s bad — the mélange of Uncharted/Tomb Raider traversal, combat that evokes Souls and God of War, and vaguely Metroid-y power acquisition and exploration mostly works — but it’s just a titch less than the sum of those parts.

Similarly, as a Star Wars story, it feels under-baked. There’s potential in exploring the period immediately after Order 66 and the Jedi purge, but you only see glimpses of that. And I understand the difficulty of telling a story where the characters succeed but in a way that doesn’t affect established canon, but it still seemed like there were a couple of missed opportunities at touching base with the larger Star Wars universe. (And the one big reference that does pop up at the end feels forced and unrealistic.)

When I got home from California, I took my lightsaber apart just to see how it all worked. Outside of the hushed tones and glowing lights of Savi’s Workshop, it seems a little less special. It’s still really cool…but I sort of wish I had had a wider variety of parts to choose from. And that I had bought some of the other crystal colors. Just in case.

That’s how I feel about Jedi: Fallen Order. I had fun with it. But it’s easier now to see the parts for what they are.

7. Untitled Goose Game

Aubrey and I first saw this game at PAX, at a booth which charmingly recreated the garden of the game’s first level. We were instantly smitten, and as I’ve introduced it to family and friends, they’ve all had the same reaction. When we visited my brother’s family in Florida over the holidays, my eight-year-old niece and nephew peppered me with questions about some of the more complex puzzles. Even my father, whose gaming experience basically topped out at NES Open Tournament Golf in 1991, gave it a shot.

I’m not sure I have a lot more to say here, other than a few bullet points:

1) I love that Untitled Goose Game is completely nonviolent. It would’ve been easy to add a “peck” option as another gameplay verb, another means of mischief. (And, from what I understand, it would be entirely appropriate, given the aggression of actual geese.) That the developers resisted this is refreshing.

2) I’m glad a game this size can have such a wide reach, and that it doesn’t have to be a platform exclusive.

3) Honk.

6. Tetris 99

Despite the number of hours I’ve spent playing games, and the variety of genres that time has spanned, I’m not much for competitive gaming. This is partially because the competitive aspect of my personality has waned with age, and partially because I am extremely bad at most multiplayer games.

The one exception to this is Tetris.

I am a Tetris GOD.

Of course, that’s an incredible overstatement. Now that I’ve seen real Ecstasy of Order, Grandmaster-level Tetris players, I realize how mediocre I am. But in my real, actual life, I have never found anyone near my skill level. In high school, I would bring two Game Boys, two copies of Tetris, and a link cable on long bus rides to marching band competitions, hoping to find willing challengers. The Game Boys themselves became very popular. Playing me did not.

Prior to Tetris 99, the only version of the game that gave me any shred of humility in a competitive sense was Tetris DS, where Japanese players I found online routinely handed me my ass. I held my own, too, but that was the first time in my life when I wasn’t light-years beyond any opponent.

As time passed and internet gaming and culture became more accessible, I soon realized I was nowhere near the true best Tetris players in the world. Which was okay by me. I’m happy to be a big fish in a small pond, in pretty much all aspects of my life.

Tetris 99 has given me a perfectly sized pond. I feel like I’m a favorite to win every round I play, and I usually finish in the top 10 or higher. But it’s also always a challenge, because there’s just enough metagame to navigate. Have I targeted the right enemies? Do I have enough badges to make my Tetrises hit harder? Can I stay below the radar for long enough? These aspects go beyond and combine with the fundamental piece-dropping in a way I absolutely love.

The one thing I haven’t done yet is win an Invictus match (a mode reserved only for those who have won a standard 99-player match). But it’s only a matter of time.

5. Pokemon Sword/Shield

I don’t think I’ve played a Pokemon game through to completion since the originals. I always buy them, but I always seem to lose steam halfway through. But I finished Shield over the holidays, and I had a blast doing it.

Because I’m a mostly casual Pokeplayer, the decision to not include every ‘mon in series history didn’t bother me at all. I really enjoyed learning about new Pokemon and forcing myself to try moving away from my usual standards. (Although I did still use a Gyarados in my final team.)

As a fan of English soccer, the stadium-centric, British-flavored setting also contributed to my desire to see the game through. Changing into my uniform and walking onto a huge, grassy pitch, with tens of thousands of cheering fans looking on, really did give me a different feeling than battles in past games, which always seemed to be in weird, isolated settings.

I’m not sure I’ll push too far into the postgame; I’ve never felt the need to catch ‘em all. But I had a great time with the ones I caught.

4. The Legend of Zelda: Link’s Awakening

I have a strange relationship with the Zelda series, especially now. They are my wife’s favorite games of all time. But I don’t know if I’ve ever actually sat down and beaten one since the original Link’s Awakening. Even with Breath of the Wild, which I adore, I was content to watch Aubrey do the heavy lifting. I know the series well, I’ve played bits of all of them, but most haven’t stuck with me.

Link’s Awakening has. I wrote a piece once about its existential storytelling and how it affected me as a child. I love the way the graphics in this remake preserve that dreamlike quality. It’s pretty much a re-skin of the original game, but the cutesy, toy-set aesthetic pairs well with the heavy material. If this is all a dream, whose dream is it? And when we wake up, what happens to it?

Truthfully, some of the puzzles and design decisions haven’t held up super well. Despite the fresh coat of paint, it definitely feels like a 25-year-old game. But I’m so glad this version exists.

Oh, and that solo clarinet in the Mabe Village theme? *Chef’s kiss*

3. Control

I actually haven’t seen a lot of the influences Control wears on its sleeve. I’ve never gone completely through all the episodes of the X-Files, Fringe, and Twin Peaks; I’m only vaguely familiar with the series of “creepypasta” fiction called SCP Foundation; and I have never endeavored to sit through a broadcast of Coast to Coast AM. I’m also unfamiliar with Remedy’s best-known work in the genre, Alan Wake. But I know enough about all those works to be able to identify their inspiration on the Federal Bureau of Control, Jesse Faden, and the Oldest House.

Control is an interesting game to recommend (which I do), because I’m not sure how much I really enjoyed its combat. For most of the game, it’s a pretty standard third-person shooter. You can’t snap to cover, which indicates you’re intended to stay on the move. This becomes even more obvious when you gain the ability to air dash and fly. But you do need to use cover, because Jesse doesn’t have much health even at the end of the game. So combat encounters can get out of hand quickly, and there’s little incentive to keep fighting enemies in the late game. Yet they respawn at a frustratingly frequent rate. The game’s checkpointing system compounds this — you only respawn at “control points,” which act like Souls-style bonfires. This leads to some unfortunately tedious runbacks after boss fights.

On the other hand, Jesse’s telekinesis power always feels fantastic, and varying your attacks between gunshots, thrown objects, melee, and mind controlling enemies can be frenetic fun. That all comes to a head in the game’s combat (and perhaps aesthetic?) high point, the Ashtray Maze. To say more would be doing a disservice. It’s awesome.

The rest of the gameplay is awesome, too — and I do call it “gameplay,” though unfortunately you don’t have many options for affecting the world beyond violence. The act of exploring the Oldest House and scouring it for bureaucratic case files, audio recordings, and those unbelievably creepy “Threshold Kids” videos is pure joy. The way the case files are redacted leaves just enough to the imagination, and the idea of a federal facility being built on top of and absorbed into a sort of nexus of interdimensional weirdness is perfectly executed. And what’s up with that motel? And the alien, all-seeing, vaguely sinister Board? So cool.

With such great worldbuilding, I did wish for a little more player agency. There are no real dialogue choices — no way to imbue Jesse with any character traits beyond what’s pre-written for her — and only one ending. This kind of unchecked weird science is the perfect environment for forcing the player into difficult decisions (what do we study? How far is too far? How do we keep it all secret?), and that just isn’t part of the game at all. Which is fine — Control isn’t quite an immersive sim like Prey, and it’s not trying to be. I just see some similarities and potential, and I wish they had been explored a little.

But Control’s still a fantastic experience, and in any other year, it probably would’ve been my number one pick. That’s how good these next two games are.

2. Outer Wilds

Honestly, this is the best game of 2019. But I’m not listing it as number one because I didn’t play most of it — Aubrey did. Usually we play everything together; even if we’re not passing a controller back and forth, one of us will watch while the other one plays. And that definitely happened for a large chunk of Outer Wilds. But Aubrey did make some key discoveries while I was otherwise occupied, so while I think it’s probably the best game, it’s not the one I personally spent the most time with.

The time I did spend, though? Wow. From the moment you wake up at the campfire and set off in search of your spaceship launch codes, it’s clear that this is a game that revels in discovery. Discovery for its own sake, for the furthering of knowledge, for the protection of others, for the sheer fun of it. Some games actively discourage players from asking the question, “Hey, what’s that over there?” Outer Wilds begs you to ask it, and then rewards you not with treasure or statistical growth, but with the opportunity to ask again, about something even more wondrous and significant.

There are so many memorable moments of discovery in this game. The discovery that, hey, does that sun look redder to you than it used to? The discovery that, whoa, why did I wake up where I started after seemingly dying in space? Your first trip through a black hole. Your first trip to the quantum moon. Your first trip to the weird, bigger-on-the-inside fog-filled heart of a certain dark, brambly place. (Aubrey won’t forget that any time soon.)

They take effort, those moments. They do have to be earned, and it isn’t easy. Your spaceship flies like it looks: sketchy, taped together, powered by ingenuity and, like, marshmallows, probably. Some of the leaps you have to make — both of intuition and of jetpack — are a little too far. (We weren’t too proud to look up a couple hints when we were truly stuck.) But in the tradition of the best adventure games (which is what this is, at heart), you have everything you need right from the beginning. All you have to do is gather the knowledge to understand it and put it into action.

And beyond those moments of logical and graphical discovery, there’s real emotion and pathos, too. As you explore the remnants of the lost civilization that preceded yours, your only method of communication is reading their writing. And as you do, you start to get a picture of them not just as individuals (who fight, flirt, and work together to help each other), but as a species whose boundless thirst for discovery was their greatest asset, highest priority, undoing, and salvation, all at once.

I don’t think I can say much more without delving into spoilers, or retreading ground others have covered. (Go read Austin Walker’s beautiful and insightful review for more.) It’s an incredible game, and one everyone with even a passing interest in the medium should try.

(Last thing: Yes, I manually flew to the Sun Station and got inside. No, I don’t recommend it.)

1. Fire Emblem: Three Houses

If I hadn’t just started a replay of this game, I don’t think I’d be listing it in the number one slot. I started a replay because I showed it to my brother when we visited him in Florida last month, and immediately, all the old feelings came flooding back. I needed another hit.

No game this year has been as compelling for me. That’s an overused word in entertainment criticism, but I mean it literally: There have been nights where I absolutely HAVE to keep playing (much to Aubrey’s dismay). One more week of in-game time. One more study session to raise a skill rank. One more meal together so I can recruit another student. One more battle. Just a little longer.

I’m not sure I can put my finger on the source of that compulsion. Part of it is the excellence of craftsmanship on display; if any technical or creative aspect of Three Houses was less polished than it is, I probably wouldn’t feel so drawn to it. But the two big answers, I think, are the characters and their growth, both mechanically and narratively.

At the start of the game, you pick one of the titular three houses to oversee as professor. While this choice defines who you’ll have in your starting party, that can be mitigated later, as almost every other student from the other two houses can be recruited to join yours. What you’re really choosing is which perspective you’ll see the events of the story from, and through whose eyes: Edelgard of the Black Eagles, Dimitri of the Blue Lions, or Claude of the Golden Deer. (This is also why the game almost demands at least three playthroughs.)

These three narratives are deftly written so you simultaneously feel like you made the only possible canonical choice, while also sowing questions into your decision-making. Edelgard’s furious desire for change is just but perhaps not justifiable; Dimitri hides an obsession with revenge behind a façade of noblesse oblige; Claude is more conniving and pragmatic than he lets on. No matter who you side with, you’ll eventually have to face the others. And everyone can make a case that they, not you, are on the right side.

This is especially effective because almost every character in Three Houses is dealing with a legacy of war and violence. A big theme of the game’s story is how those experiences inform and influence the actions of the victims. What steps are justified to counteract such suffering? How do you break the cycle if you can’t break the power structures that perpetuate it? How do good people end up fighting for bad causes?

While you and your child soldiers (yeah, you do kind of have to just skip over that part; they’re in their late teens, at least? Still not good enough, but could be worse?) are grappling with these questions, they’re also growing in combat strength, at your direction. This is the part that really grabbed me and my lizard brain — watching those numbers get bigger was unbelievably gratifying. Each character class has certain skill requirement prerequisites, and as professor, you get to define how your students meet those requirements, and which they focus on. Each student has certain innate skills, but they also have hidden interests that only come to the surface with guidance. A character who seems a shoo-in to serve as a white mage might secretly make an incredibly effective knight; someone who seems destined for a life as a swordsman suddenly shows a talent for black magic. You can lean into their predilections, or go against them, with almost equal efficacy.

For me, this was the best part of Three Houses, and the part that kept me up long after my wife had gone to bed. Planning a student’s final battle role takes far-seeing planning and preparation, and each step along the way felt thrilling. How can you not forge a connection with characters you’ve taken such pains to help along the way? How can you not explode with joy when they reach their goals?

That’s the real draw of Fire Emblem: Three Houses, I think: the joy of seeing people you care about grow, while simultaneously confronting those you once cared about, but who followed another path. No wonder I wanted to start another playthrough. I think I’ll be starting them all over again for a long time.

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rugeon · 5 years

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Breaking down the Dust: higher level design goals and challenges

Here’s that second post of stream of consciousness mechanical thoughts and ideas. Just ideas for now.

So one of the goals I have for developing this idea is creating a creatively expressive music game. When compared to other music games often times there is a great emphasis placed on technical mastery and execution. Most rhythm games focus on matching the timing + accuracy of your input; eg. guitar hero, rockband, singstar, rhythm heaven

While technique and timing are strong elements of mastery in music, there’s more the experience of playing music than simply playing the ‘right’ notes at the right time, and these prescriptive styles of matching the notes to established songs ignore the creative and expressive aspect of playing music. Often times there is more than one way for someone to express the same musical idea, which is subject to that person’s individual tastes. There is more than one way to play the same song or jam over the same idea, different notes/chords to get to the next part of a song.

More recent guitar hero+ rock band iterations, as well as other music games, will have improv breaks in the song where a wider selection of inputs are valid and contribute to score, and while I haven’t really played these games, these sections are 1. de-emphasised and 2. often result on people ravingly hammering all over their controller/ singing somewhat flippantly. This is good fun in a party setting where these games thrive on replicating the ‘feel’ of being a guitarist frenetically twisting their fingers into knots all over the fretboard to shoot thunder out of the sky, but don’t really capture that feeling in improv of musical expression + intent.

One game that I feel gets closer to this (albeit in a somewhat limited capacity is the captivating recreational program ‘Hylics’ by Mason Lindroth

Which has an optional section available near the end of the game where the player is able to assemble their band and cycle them each through various tracks to play at the same time, and then selecting from their own range of sounds and play select set of notes / chords in each style you switch to. It’s fairly freeform and without much in the way of constraints/ judgements on how you play. You can’t fail, it’s entirely optional and is sort of just a fun short side outlet of maybe improving over some pre-arranged grooves/synths/beats.

This brings up the question of how to create a musically expressive game for players that has depth and facilitates some degree of creativity, but still in the context of something that is engaging as a stand-alone experience. As much as I’m a big fan of the concert you can play in Hylics, it’s very strictly an optional part of the game and not the main focus of the experience. There is no feedback given to the player on how good they’re doing which in someways is great. As a relaxing side thing it’s nice that the player has the opportunity to just ‘play’ and decide for themselves whether they like what they did, but its ultimately something that doesn’t reflect the constraints that are an essential part of playing music.

Musicians respond to eachother, they respond to the context of where they are in a song and where they’re going, and also respond to their audience on some level while performing as well. A music game that is purely expressive without constraints while appealing to me, certainly more appealing than making something with a different note highway, runs the risk of not actually resulting in people making something recognisable as appealing music. Some constraint on when you should be playing notes, feedback on playing things is necessary to some degree to encourage players to create a performance.

This brings the challenge of creating a musically expressive game without requiring a vast musical understanding.

Something like Rocksmith which is sort of just an interface for a real guitar (complete once again with note highway) while teaching musical concepts and opening up the ability to start learning an instrument, is way too complicated in terms of fidelity of representation in playing an instrument for most people just looking to play a game. Besides that this game has some modes that offer a practice space where you can express yourself as opposed to playing the written notes (and even within the framework of songs there is some greater degree of expression in terms of strumming available) this game also isn’t really trying to convey the idea of self-expression, but start handing you some tools that could be used to make it, outside of the game, on a real instrument.

So the major challenge to take from this is how to create a fun musical or musically themed game, which facilitates player expression and depth without requiring an intimate understanding of how to play music.

If I were to guess what my design arrives at, it will probably share some more with a game like ‘Floor Kids’ the recent breakdancing game:

I haven’t played it but it judges you on score and variety of moves, while allowing for different inputs and moves to be interpreted as valid and mostly just requiring a steady tempo for inputs, as opposed to matching them to a scrolling sheet of different specific inputs at different times. In order to be able to express yourself, you need to have meaningful options.

When looking at other games that allow for some degree of creative player expression some ones that come to mind are:

Fighting Games:

[Absolver]

Sports/trick games in the tradition of series like tony hawk:

And spectacle fighters like Devil May Cry:

These games all have systems that make judgements on play that deign there is such a thing as ‘optimal play’, but still within each of these games there are vastly different types of players who will feel happy with how they play relative to their own sense of mastery and targets within their evaluative frameworks. The better scoring systems in something like Devil May Cry are designed to make the assigned value between different modes of play more even. Still other players ignore the scoring systems entirely to just make it through the game, or because they prefer their own way of playing over what the game says is desirable. Fighting games at the high-level trend towards certain styles of play, moves being completely unutilised because they are bad and others used more because they are optimal. When the requirements to pass or succeed are high the ability to self-express reduces. I think the most potentially interesting of these is something like Devil May Cry, which features distinct switchable movesets that have different strengths but are all potentially viable. Some players will specialise in one and not make use of all of its moves but develop a mastery over its core features (dodging, parrying etc.) While other players will be more broad.

The room for this specialisation and ability for several moves to accomplish the same task is tied up in the game’s enemies which are effectively challenges that prompt the player in different ways to respond to that enemies strengths and weaknesses. The utility/threat of these enemies varies massively, with some being only a threat when near another enemy or in a large number, others having more deadly versions introduces later once the player has improved in skill etc.

One of the main differences however is that in music repetition is often desirable. Things can repeat aesthetically but have a different accent, articulation or energy because of where they are in the song and still feel really effective. This is one of the aesthetic features often noted in the desert rock / stoner rock genre. They are very repetitive and focused on the trancelike nature of staying in a groove. This is not to say there is a lack of progression or movement in these genres, only that this is a feature often associated with them which runs somewhat counter to the encouraged expression in games that evaluate based on variety. How to encourage the kind of play where going on for longer is desirable?

The player’s priority of how they respond is determined by their own ability and tastes in response to the changing context of the fight/ arena/ enemy composition. As a way of expressing oneself within constraints, comparisons could be drawn to how musicians will respond based on their own tastes and experience to the changing context of the sound/performance. There is a certain rhythm, and call and response to playing these kinds of games. Even more so in iterations where the timing on certain moves is emphasized by allowing for a more effective execution.

These games have players expressing themselves spacially, while most musical games (understandably) are focused on the temporal qualities, of when sound is played. Maybe there’s a way to visualise musical context in a way which is more spatial without just being a 1-dimensional note highway?

Another aspect of the scene that I feel warrants some thought is how to create the sense of community. Lots of music games have an audience responding to the player’s ranking and the setting of something like a generator party next to a kidney pool provides a good fit for this scene but I’m curious if they could be more involved. Having the crowd and how they respond being the really visual thing you are responding to in music? Different types of people and how they move making you decide to play differently ie speed up, slow down, change style? Furthermore when playing music does the player play one musician or the whole band? Different instruments and roles have different play styles? WHat about gamifying the other aspects of this scenes experience? Putting the poster together a la. the more freeform creative stuff like building a snowman in NITW demo game Longest Night, or colouring the butterflies in Florence. The experience of following a mad map in the pitch black of a desert to get to a show. Most of this is just gonna end up being scope creep nonsense but is at least worth considering. How much to represent all aspects of the scene vs a higher fidelity representation of one style of playing for one instrument.

Only other aesthetic considerations I have for the framework are that the wind, dust and sky are all ripe for implementation, and surreal, emotive, anthropomorphic fallacy-ising. Figures + shapes in the night sky being the thing the player responds to?

Main goal for now is to figure out the main mechanic of creating some musical expressive stuff.

#gamedev #dust

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bestfungames1 · 3 years

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New Post has been published on https://bestfungames.com/marvels-avengers-review/

MARVEL'S AVENGERS REVIEW

MARVEL’S AVENGERS REVIEW

Marvel’s finest have never looked or sounded this good, but their best efforts feel in vain.

By Robert Zak September 07, 2020

As the Marvel’s Avengers campaign ends, to be replaced by samey missions, it reminds me of the dual identity of so many superheroes. Avengers straps on its tightest, glossiest spandex for the campaign and dazzles with its moves, but once that adventure ends and it returns to the daily grind of a multiplayer-oriented endgame, it blurs into the crowd. Inoffensive, yet indistinguishable but for its famous superhero superstars.

The frustrating thing about Marvel’s Avengers is that for the first few hours, you see hints of what it could have been—a visually spectacular and satisfying adventure—but then a functional, unoriginal loop of missions takes over, and you realise that that’s the actual game you’ll be spending most of your time with.

The campaign offers a simple story, following future Ms. Marvel Kamala Khan as she seeks to reassemble the Avengers following a disaster that creates a wave of new superheroes labelled as ‘Inhumans’. You’re pitted against floating-head-with-tiny-limbs, MODOK, who’s intent on wiping out all Inhumans with the help of AIM’s Scientist Supreme Monica Rappaccini and her army of robots.

A pretty regular Marvel setup then, and beautifully written, animated, and voice-acted throughout. I found myself actively looking forward to the cutscenes and snippets of in-game banter.

R relationship between Bruce Banner and Kamala Khan unfolds beautifully. Banner’s unsure body language and mix of irritation and avuncular care he shows towards Khan—whose chirpy teenage optimism is just what 2020 needs—is a masterclass of voicework and mocap. It also elegantly addresses the fact that, to a 30-plus curmudgeon like me, the fresh-faced Khan can be kind of annoying, but her convincing character arc soon gets me completely onboard.

(Image credit: Marvel’s Avengers)

Given the amount of big names the campaign has to introduce, it’s understandable that not all the relationships get the same level of attention, but each character still entertains as you bring the Avengers’ floating command centre back to life. The villain MODOK, with his pustulent, hypertrophic head that seems to swell up with every scene, is brilliantly brought to life. The performance turns one of Marvel’s goofiest-looking heroes into a memorable, eerily soft-spoken villain.

However, once you’re aboard the Avengers’ Chimera ship, it becomes a little too obvious that you’re being roped into the publisher’s long game. You walk around on deck as your Avenger of choice, picking up time-limited challenges from vendors, buying gear using real or in-game currency, and using a map to freely drop into missions set across several biomes around the world. Some you do solo, others you do alongside up to three other Avengers, who can be controlled by AI or online players. I’d play with others where possible, and it speaks to the simplicity of the missions and combat that there’s not too much need for communication or a balanced squad.

I did get to play online alongside Hulk wearing a Hawaiian shirt and fedora though.

(Image credit: Marvel’s Avengers)

PERFORMANCE

I’ve been reading a a little bit about performance problems on PC, but can say that my experience has been mostly stable. There were a couple of odd bugs during the campaign that forced me to restart the game, and multiplayer matchmaking has been very slow from my experience, forcing me to give up after minutes of waiting multiple times.

The combat is a curious mix of classic brawler moves like juggling, suspended aerial attacks and light-heavy combos with the counter-and-dodge-based style of the Arkham games (there’s even a move where you jump over a shielded enemy’s head to break their shield). Little icons on the edges of the screen tell you how close a missile or laser is to blasting you away, while enemy melee attacks are telegraphed by coloured circles, which let you know whether to dodge or parry them. Get enough attacks together, and your rage meter fills, letting you unlock spectacular special moves like Iron Man summoning his Hulkbuster mech, or Ms. Marvel turning into a long-limbed giantess resembling a wacky waving inflatable tube girl.

The icons give you a lot to think about while filling your screen with a confetti of mechanised enemies and special moves executed by your fellow Avengers, and it doesn’t always feel like you—or even the game itself—can keep up. A couple of dozen hours in, I’ll still often dodge instead of parrying when the enemy attack circle is white (dodge for red, dammit!), and that all-important telegraphing of enemy moves isn’t entirely consistent, and the camera’s a little too close for comfort – great for ogling Hulk’s slabs of back muscle, not so great for managing space in a scuffle.

Playing as the speedsters of the group, Ms. Marvel and Black Widow, feels much better than Hulk, whose lumbering style doesn’t sync well with the already slowish animations and floaty jumping physics. High-flyers Iron Man and Thor, meanwhile, definitely offer a buzz as you can freely swoop into battle from way overhead of your buddies. Unfortunately finer aerial maneuvering and attacks are fiddly and much weaker than melee. It may be fun to fly, but the action’s really on the ground.

But in a game so much about fan service, there’s something to be said for making each superhero feel unique, even if that is at the expense of balance. The characters move and attack just like you remember from the movies or imagine from the comics, right down to the disinterested way Hulk toe-pokes chests open. During these little moments, and amidst the on-screen muddle when you string together a bunch of counters and executions before letting rip with a hero’s special move, the superhero fantasy successfully shines.

(Image credit: Marvel’s Avengers)

The bigger problems come later. Missions may be set all over the world, but levels themselves are sparse expanses of snow/forests/city where you hunt for crates hidden in metal bunkers guarded by faceless robots, before proceeding to complete a main objective—destroying a few structures, or holding onto some control points, Battlefield-style.

The game tries to spruce things up with awkward platforming segments and hunts for SHIELD stashes (essentially a slightly better stash among endless stashes), but they’re visually ugly and unvaried, in stark contrast to the elegantly animated and designed superheroes that run around them.

Also, for some reason the ‘Power’ level required for various missions is all over the place, greatly restricting the amount of missions you can tackle. I was quite up for a boss-fight mission that SHIELD offered for their daily challenge (which improves your faction rank with SHIELD, which lets you buy locked-off gear yada-yada), only to find that I was dozens of levels below being able to do it. These are the kinds of things that can be smoothed out over the coming months, but as things stand a good chunk of the endgame remains level-gated.

(Image credit: Marvel’s Avengers)

Back aboard the Chimera, the metagame of daily challenges, endless gear upgrades (with daily ‘specialty’ items) and missions becomes particularly noticeable post-campaign. Without the more bespoke campaign-specific missions and story to break them up, the monotony begins to set in, and while there is an obsessive feedback loop to repeating missions, upgrading your gear, and improving your character in perpetuity, you don’t even get to see these gear upgrades. The only aesthetic changes are different costumes, which are a hard to find, and otherwise locked behind higher levels and real-world currency.

There’s nothing too egregious about the microtransactions, which are purely cosmetic and also include emotes, nameplates and execution animations, but there’s nothing particularly satisfying to work towards in the endgame either.

Perhaps a fleshed-out single-player campaign will never be enough to satisfy Avenger’s marketing aims. The story is worthy of Marvel’s movie canon, but it’s too short and ends up being a shiny wrapper for what’s currently a rudimentary game-as-service.

(Image credit: Marvel’s Avengers)

This comes with the caveat that it’s just getting started, and there have been plenty of online-oriented games that started slowly. There’s enough button-mashy mileage in the combat system, especially as new heroes get introduced as DLC, but it’s the mission design and loot loop that let it down. It’s just not strong or varied enough to justify the long-term investment the game wants from you.

Not that justification beyond a 14-hour campaign and ‘it’s your favourite superheroes and they look amazing’ is needed for a day one purchase, based on the game’s early sales. But if Marvel’s Avengers wants to keep loyalists sweet and expand its player-base, it needs a lot more flesh on its vibranium skeletal armature. If only the game could carry some of its narrative prowess from the campaign over into the endgame.

#marvel #MARVEL'S AVENGERS REVIEW #Games Reviews

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microwavetimemachine · 7 years

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Video Game Review - Legend of Zelda: Breath of the Wild

Authors Note: this review is MY OPINION. Take that for what you will before reading this.

This game was good.

It wasn’t earth-shatteringly good like Ocarina of Time, but it was a good, much needed update to a massively popular franchise that really needed to come back after the relative flop of the last installment (Skyward Sword) and system (WiiU) that it was on.

Gameplay- 7/10

If you think about it, the game, despite the various installments of the LoZ franchise, doesn’t really change. They’re very formulaic, and always follow a set pattern: you’re the chosen one, you come into some ancient power/are foretold by some ancient prophecy, you then come into possession of some weapon (usually the Master Sword, but it differs depending on the game) blessed by the goddess to vanquish evil, you are then tasked by said goddess to save the princess and, together, seal away the evil for some period of time.

The only reason that BotW scored as well as it did is because, despite the formula still being broadly applied in this installment, the open world and ability to deviate from the main story line to explore and complete other quests gave you more variation than the standard.

Also because, while annoying, the fact that you could attempt to do any dungeon/shrine despite not having the necessary items was novel, and wholly unexpected.

Mechanics- 9/10

As mentioned above, while occasionally annoying, the ability to shatter, break, damage, lose, or otherwise void your inventory of weapons was an interesting, and somewhat fun, way of making sure that you interacted with the game in a completely new way than LoZ fans are used to.

It meant that you had to use your more powerful weapons sparingly, or be prepared to fight harder, more powerful foes more regularly.

The food mechanic in this game is also a novel take on the of classic that was potions. Food that you cook, if you cook using certain ingredients, can endow you with strength, stealth, speed, defense, or it can overfill your health. All of these were massively helpful in a game that was definitely LESS forgiving of damage than its predecessors.

The Stamina Wheel was also a good feature. In games past, all you had to do was run and climb and jump and swim, and you never ever got tired. In BotW you had to plan what you were doing, or suffer the possible consequences of drowning, dying of fall damage, or simply getting hit by a really powerful enemy that you were trying, and failed to, outrun. The Stamina Wheel required you to play it smart instead of easy and, at times, made it so that you had no choice but to fight and/or die due to your own lack of forward thinking.

Art- 10/10

The style used in this installment is, in a word, breathtaking. It is both visually pleasing and masterfully wrought.

World- 8/10

I like open worlds. I do. And this is gonna sound nit-picky BUT: when I look up a map to find every little thing that my completionist ass needs to feel fulfilled in a game, and it takes me more than, oh, I don’t know, eight hours to find them all, YOUR MAP IS TOO DAMN BIG.

I mean, don’t get me wrong, I fully enjoyed the first six hours. After that, though, I began to dread looking up the next location because I knew that it was gonna be really far away from the closest warp point, and pretty damn hard to find.

Story- 3/10

FORMULAIC. Yes, there are elements of the story that broke the mold, and yes, it is traditional for LoZ to follow this formula, and YES, I will still play all the new ones that come out.

Those things do not negate the score. Three is the highest that I can, reasonably, give it, what with the specific elements that, generally, change from game to game and all.

Battle System- 8/10

In previous installments, all you had to do was use truly prodigious amounts of dodge rolling and hit the weak area of the enemy.

In this installment they removed dodge rolling in favor of an upgraded parry-thrust mechanic

This was great, except for the fact that the parry-thrust move timing is pretty exact, and changes from enemy type to enemy type.

That, and failure to produce a correctly executed parry-thrust maneuver could damage, or outright shatter, your shield.

They *sort of* made up for that last one by giving you one of the Champion Abilities called Daruk’s Protection, but that only had three charges and a cool down of, like, five or so minutes, which isn’t super great with the new, faster enemies.

This game gets a 75%, which, for all you students in the US, is a C. The scale is from horrible, should not be counted as part of the franchise to holy shit this game is amazing, and it got a solid “yeah, this is a good game.”

#legend of zelda #legend of zelda: breath of the wild #video games #video game reviews

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aion-rsa · 4 years

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Marvel’s Avengers Review: It’s No Spider-Man

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A developer assumes a measure of responsibility when making a superhero game. These characters typically have a longstanding fanbase that is oftentimes overprotective and overly precious about how their favorite heroes are portrayed. So when it was announced that Crystal Dynamics and Marvel Games were working on an action-adventure, narrative-driven, loot-based Avengers game, I was skeptical because a) it sounded like an overly ambitious game to make regardless of licensing, and b) this isn’t just any superhero license—these are the most popular, beloved superhero characters on the planet right now. How could the developers possibly meet Marvel fans’ lofty expectations?

My takeaway from Marvel’s Avengers after completing its story campaign and playing through hours of its online multiplayer component is that the game will not meet your expectations. It’s ultimately a bit of a letdown. Certain aspects of the game are even extraordinarily good, but there’s a lack of consistency that runs throughout the game on several levels as well as fundamental flaws that keep it from standing alongside the likes of Marvel’s Spider-Man and Rocksteady’s Batman Arkham series in the superhero game pantheon.

Marvel’s Avengers as an experience is divided into two big modes. The first mode is a story campaign, which is designed as a mostly solo experience and focuses on the hero’s journey of would-be Avenger Kamala Khan (voiced wonderfully by Sandra Saad). Upon completing the campaign, the game transitions into its Avengers Initiative online multiplayer component, which continues the story through largely standalone single- and multi-objective missions you can take on with up to three teammates. If you want to get to playing with your friends right away, you do have the option to skip the campaign entirely, but then you’d be missing what for now is the stronger half of the experience.

The story itself is pretty standard fare for comic book fans. It sees the Avengers disassembled and then slowly reassembled in dramatic fashion before they ultimately save the day. The inciting incident is A-Day, an event in San Francisco in which the Avengers, along with scheming scientists George Tarleton and Monica Rappaccini, were meant to unveil a new mineral called Terrigen as the key to a clean energy-fueled future. But when terrorists led by Taskmaster attack, most of the team rushes to the rescue while Cap tries to secure the volatile Terrigen crystal fueling the Avengers’ helicarrier, the Chimera.

After defeating Taskmaster, the ship unexpectedly explodes, claiming the life of Captain Rogers and spreading Terrigen mist across the city, imbuing normal people with extraordinary abilities. The world comes to refer to these new superpowered citizens as Inhumans. Fearing for their own safety in an Avenger-less world, humanity quickly begins hunting and persecuting these Inhumans, who are forced to hide their powers or risk imprisonment — or worse.

Years later, young Kamala Khan, who met the Avengers on A-Day as a participant in a fan fiction contest and is now secretly an Inhuman with incredible shape-shifting powers, embarks on a journey to uncover the truth about what really happened on that fateful day. Along the way, she reassembles the Avengers and joins the Inhuman resistance and what’s left of SHIELD in their fight against Tarleton’s evil tech organization Advanced Idea Mechanics (AIM). Like Kamala, Tarleton is also going through his own transformation, morphing before our eyes into the grotesque MODOK, who’s never been one of my favorite Marvel villains but is serviceable here.

What sets the game’s narrative apart from other Avengers stories and pretty much every video game story out there is that Kamala is at the center of it, which is cool not only because she’s a great character from the comics, but because she’s a Pakistani American woman starring in a AAA video game. I can’t overstate how much decisions like this mean to underrepresented communities. Best of all, Kamala’s storyline is handled with care, as we watch her grow into a powerful hero that inspires the rest of the Avengers to get back to work. She’s truly the heart and saving grace of the game’s story campaign.

The game’s larger storytelling is far from perfect, however. Kamala is a great protagonist, and the mentor/mentee relationship that develops between her and Dr. Bruce Banner (Troy Baker at the top of his game) is perhaps the title’s best storyline. But the other Avengers—Iron Man, Thor, Cap, Black Widow—aren’t nearly as compelling. They feel like shallow versions of what we’ve seen before in the comics and movies, which would be fine if you only saw them from Kamala’s point of view…but you don’t.

At different points throughout the campaign, you take control of each Avenger, turning the game into more of an ensemble piece meant to explore all of the heroes individually. But other than Kamala and Bruce, none of them has an interesting character arc. Larger than life Marvel staples like Tony Stark and Thor are woefully underwritten here and even their Iconic Missions, hero-specific side stories that tie back into the main plot, leave much to be desired. While these missions are each meant to highlight a specific character and their powers, they mostly play out like every other mission type. More on that in just a bit.

It doesn’t help that Marvel’s Avengers doesn’t do enough to distance itself from its movie counterpart. All I see when I look at the OG Avengers in the game is “Store-Brand Avengers,” lesser versions of their MCU counterparts (don’t get me started on the atrocious Tony character model). And since their individual stories are underwritten, we virtually have no choice but to reference the MCU to fill in the blanks. The game just doesn’t have a strong identity of its own.

Fortunately, combat is pretty solid all around. Crystal Dynamics has done a good job making each hero feel different from the next, from Kamala’s stretch-based powers to Iron Man’s high-flying maneuvers to Hulk’s environment-shattering smashing, and the combat feels smooth, with timed dodges, parries, and ability gauges adding depth to what is essentially traditional beat-em-up gameplay. There are imbalances here and there (like when a dozen off-screen enemies attack you all at once and you have no choice but to, well, die), but it’s generally fun to punch and shoot your way through AIM’s robotic and human goons.

That said, the combat is sometimes hindered by a camera that can’t quite keep up with the action. Things can get so hectic during intense combat sequences that it’s very possible that you’ll lose track of what’s happening on screen all together. I also experienced pretty severe framerate drops at points when there were too many enemies on screen. And although you can tackle multiplayer missions by yourself with three AI companions—which is a nice touch for those who don’t particularly like playing online—expect to grow frustrated with the AI at times.

All of this is compounded by the uninteresting enemies you’ll face throughout the game. No one really thinks of AIM when counting down the best evil factions in Marvel history and the shadowy organization isn’t made any more spectacular here. You’ll mostly spend your time in Marvel’s Avengers fighting bullet-spongy robots, drones, mechs, and jet pack-wearing soldiers, with almost no hint of an actual recognizable Marvel villain in between. How is it possible to have this much access to the Marvel license and include pretty much no fan-favorite villains in the game? Sure, you’ll face one or two, including Hulk villain the Abomination, who was revealed in the beta, but don’t expect to see any A-listers in this game.

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Marvel’s Avengers also puts a big emphasis on loot and character progression. Each hero has their own skill trees, gear to equip, and unlockable cosmetics. Skill points you earn by completing missions and taking down enemies can be redeemed for new abilities on the skill tree, while cosmetics (new costumes) can be purchased with in-game currency at different vendors, bought with real money, unlocked by progressing through the story, or earned through each hero’s Character Card, a progression system structured like a traditional battle pass. As you complete challenges in the game, you’ll earn challenge points that unlock new items on the Character Card.

The gear system is a bit more involved. You’ll need to do a lot of grinding to outfit your character with the best gear and raise their power level, the most important number in the game. Your character’s power level, which is an amalgamation of each piece of gear’s individual power level, defines how strong your character is and whether they can take on increasingly difficult missions.

Each mission has a recommended power level, and it’s in your best interest to heed that warning. If you’re even five below the recommended power level, you’re likely to get annihilated on the battlefield. Unfortunately, this means that you’ll find yourself grinding levels for more powerful gear quite a bit in the game, replaying War Zone missions at higher difficulties in the hopes of getting better item drops. All that said, loot isn’t represented cosmetically, and while there are seemingly countless perks and customization options tied to the pieces of gear you find, at the end of the day, the combat kinda feels the same no matter what loadout you’ve got. There’s a severe lack of variety here.

As we wrote in our preview of the game back in August, War Zone missions get old very quickly. They’re repetitive, are largely set in surprisingly uninteresting environments, and usually involve one of only a handful of mission structures, from attacking and defending control points to destroying AIM tech to simply taking out enemy waves. This is all fun at first, and playing with others online does add dimension to the experience. Coordinating attacks, watching each others’ backs, performing devastating combos on giant robots–the combat is definitely conducive with online co-op.

But the recycled mission structures and environments just aren’t enough to keep me going for as long as the devs want me to. There are some storytelling elements bookending the War Zone missions, especially in the case of the aforementioned Iconic Missions, which is appreciated. But after breaking into the umpteenth AIM lab and destroying the three valuable pieces of tech or holding down the three important control points or destroying another giant mech, you begin to wonder what you’re actually working towards in the game.

As far as I can tell at launch, you grind missions to earn better gear in order to take on tougher missions that feel exactly like the last batch of missions…but more difficult? All in all, repetitive missions make it so that you want off the gameplay loop as soon as possible. I certainly don’t feel the impetus to keep playing now that I’ve finished the story campaign and written this review.

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Another annoyance I have with online play is the matchmaking. It often took forever to find other players and launch a mission. I ultimately enjoyed playing solo with AI companions much more, which really says something about a game that’s meant to be played with others, especially since the AI heroes almost never help you actually complete objectives. They just kind of follow you around the stages.

I’m looking forward to the Hawkeye DLC that’s on the way for Marvel’s Avengers, as well as the PlayStation-exclusive Spider-Man content coming out next year, but I’ll most likely give the game a rest until then. I wish that Crystal Dynamics had focused more on the campaign because, man, some of the set pieces and Kamala moments show signs of life in a game that mostly feels dead on arrival. I would have loved to play 10 more hours of a Kamala single-player campaign. But alas, I’m left with the bitter taste of a middling, Destiny-like action-looter that unfortunately undermines the truly great things that the game does have going for it.

The post Marvel’s Avengers Review: It’s No Spider-Man appeared first on Den of Geek.

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nazih-fares · 6 years

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Whether it is the movies, books or games, the task to reboot an established franchise is never an easy thing for any developer or publisher. With some much expectations from the series’ fans, on top of making sure they are not forgotten while trying something new, the new God of War was definitely a gamble. To achieve this reboot of a flagship PlayStation brand, it took over five years of hard work and dedication from the iconic producer Cory Barlog and the team over at Santa Monica, carefully dissecting the franchise and putting everything back into something new, from the gameplay mechanics to the general artistic direction of the game.

However, everything in this “reboot” of God of War is actually a balance between retaining the essence of the franchise will creating something new. Beyond the obvious technical and the artistic aspect that comes from a switch to next generation, the game still pays a tribute to its legacy in all sorts of ways. While it would have been easier to start from a clean sweep to reboot this franchise, there’s a certain genius behind Santa Monica’s studio to switch to another lost mythology and yet keep Kratos at the center of it. You see, I personally wasn’t a big fan of the original God of War series, even if I admire the lore of ancient Greek myths, but it’s this episode that changed my mind, as we now venture into the Norse realm, with Odin on its throne, paired with other deities and creatures.

Despite his divinity – Kratos is, after all, a demigod and one of Zeus’ many sons – it made sense for the developers to do something similar to other iconic franchise reboots, and be interested in the human side of the character. Like it was the case with the reboot of Tomb Raider, Hitman and many others, the game is focused on Kratos’ inner struggle, as well as the desire to tell a deeper and equally intense story through his quest for redemption as a father, in a journey of initiation with his son Atreus, following the death of his wife. While this sounds a bit like a recipe a la “The Last of Us“, the similarities end here, as the script is done so well that it flows naturally even interspersed with very numerous clashes against ogres, trolls and other legendary Norse creatures.The narrative is intelligent in its structure, swinging back and forth between emotional, brutality and humor, with excellent conversation playing mostly on the Atreus’young innocent and playful reactions, contrasting those more contained a battle and life hardened Kratos.

And so in the rough 20-25 hours of gameplay to reach the end, the story of God of War contrasts with that of the other opus, because it’s all about Kratos finally teaching his son Atreus to not fall in the same mistakes he sadly did. For the rest of you, if you hope to discover a story of vengeance and treachery between gods, like the previous games, then you’re probably be disappointed. While these are present, however, they are not the central element of the story despite the journey of our heroes punctuated by clashes against some of these Norse gods. If you’re coming with the expectation of the previous games, then the sooner you realize God of War is indeed an entire story, the better. This 2018 game is dedicated to the Spartan and his son, his new life and being more human than ever, despite his divinity, and that is not an easy thing to do. Constantly struggling with this rage and anger slumbering in him, Kratos is looking for redemption by teaching Atreus to become a better man than he ever was, hiding his past for a better future. Everything makes sense and you’ll notice how the boy’s reactions remain credible, both in his burst of childish joy or uncontrolled anger, on top of his natural tendency to stand up to his father.

Between Kratos and Atreus, there’s also enough room in the game for some secondary characters, notably the first you’ll meet such as Brok and later on his brother Sindri, both dwarves with quite opposite personalities. The award for best-supporting actor though will probably go to Mimir. An important figure in Norse mythology, this god of knowledge and wisdom will be saved from Odin’s torture by our pair of heroes, forming an interesting trio with perfect chemistry. In addition to becoming the brain of the group, both literally and figuratively, Mimir will constantly give interesting tidbits about the game’s world, and several Nordic legends, helping Atreus – and the player – perfect his knowledge. This whole coherence of the universe is one hell of a blast for a history nerd like myself, as everything in God of War makes sense, or is interconnected for a purpose, including making the game even more fun.

Without presenting fooling anyone of being an open world – in comparison Horizon Zero Dawn, the last Action Adventure game from the publisher – God of War offers a huge map which you’ll truly enjoy. The set is built in a way that urges you to discover every nooks and cranny, revisit areas, and from time to time appreciate the beauty of its digital brush, as you enter a majestic cave or dock on a river bank still acting as a witness to a forgotten war. Although the system of traveling portals could’ve been better thought of, there’s never a feeling of too much backtracking, with even minimal touches of Metroidvania as you’ll end up opening new areas in the map, once you gain new powers and skills.

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Inspired obviously by Norse mythology, the Santa Monica team created one hell of a visual canvas, filled with sumptuous landscapes and confined sets embellished by a neat work on lighting effects. Whether you are in Midgard, Helheim or Muspellheim, the setting will take your breath away, as you cross an icy expanse in front of a giant that has been lying down for centuries. You thus find all the strengths of the saga’s visual strength, now help with a much more contemplative camera angle – behind the shoulder – to travel at your own pace and enjoy the panorama. But I’m a bit annoyed by the lack of variety in terms of the bestiary, which is smaller than those of other games, with barely any major changes or visible upgrades on most creatures, whether it is the trolls or just mere wolves. Thankfully, this lack of variety is completely forgotten when you see how devastating and visually complex Kratos’ attack are on those creatures. Adding the special effects and motion blur, with some subtle use of slow motion, the fights are staged so well that every monster or enemy will in a way feel different.

Remember when I spoke about the new camera angle? If you played the previous God of War games, then you probably are trying to figure out how that old gameplay system works with a behind-the-shoulder angle, correct? Well, the developers have only improved what was already well made, with the new a closer camera angle literally plunging the player into the action. While it’s might seem surprising that it works, playing God of War that way feels almost natural, thanks to Atreus or Mimir’s warning of incoming dangers (a bit like Senua’s inner voices). You’ll then have to fight in a traditional hack and slash – similar to the old games – but with extra mechanics like a switch to hand to hand and shield combo, a parry, and secondary skills. All of this will be confusing for the old veteran of the series, but enjoyable, especially after a few hours of play when we start to unlock more of the skill trees.

You will also need to learn the new weapon and gear system, which are linked to both Kratos and Atreus’ skill tree opening more branches and nodes. To start with, most of your weapons and gear will need to require a key amount of materials and money acquired from chests, completing quests or eliminating enemies. It is regrettable that some materials are sometimes difficult to find because of a lack of guidance, especially when it comes to crafting some legendary loot pieces and unlock more awesome abilities and combos for Kratos, or passive and supportive attacks for Atreus. On that front, I’m actually glad that it wasn’t another “The Last of Us”, as Kratos’ son is not imposed on your, and its usefulness in combat is quite well, especially when he gets the opportunity to bring you back to life with a resurrection stone.

Finally, we got the Rage mode, which builds up with effective combat skills like proper parry or dodge, as well as successfully chaining combos between Kratos and his son. While that mode is recurring from previous games, it was also tweaked for this new game, switching the Spartan into a berserker, with boosted punching attacks. The latter can become quite devastating when unlocking more nodes in its dedicated skill trees, such as a blasting area of attack ground stomp, or even the ability to pick up a large boulder and throw it at enemies. So yes, you get the gist of it, the gameplay has evolved and will be difficult to get used to for hardcore fans, however, it does not deny its true essence: the savage ferocity in each of Kratos hits.

Before we end this, there are two things that might be important for some of you to know. While I tested the game on two different consoles, both the vanilla and original PlayStation 4 (not even second generation slimmer model) and the Pro version, I totally suggest the latter. If you don’t have a PlayStation 4 Pro by now – even without a 4K TV – this game is a totally viable reason to upgrade your console, because you can feel the normal suffering with its intense fan sound. While there might not be damage visually on the screen in terms of performance, the game is visually better looking on the PlayStation 4 Pro. In both cases, the game runs at a locked 30fps, but it’s the HDR that really turns this game into one colorful digital canvas, full of crisp details and rich textures. Sadly, while there’s one thing that I truly like in the original series, it was the soundtrack, but this episode feels a bit hushed or not as epic as the original game music. Don’t get me wrong, It’s not bad, but it’s maybe not as powerful as the first titles.

God of War was reviewed using a PlayStation 4 digital download code of the game provided by PlayStation Middle East. We don’t discuss review scores with publishers or developers prior to the review being published (click here for more information about our review policy).

With this new God of War, Santa Monica Studios managed to perfectly refresh the franchise without losing its essence, making it the best entry ever made. While veterans might feel overwhelmed by all the changes, they will easily get used to it, and will play one of the top 5 best looking games on the console. Whether it is the movies, books or games, the task to reboot an established franchise is never an easy thing for any developer or publisher.

#Action Adventure #God of War #PlayStation Exclusive #Santa Monica Studios #Sony Interactive Entertainment

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game-refraction · 7 years

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Game Review: The Legend of Zelda - Breath Of The Wild (Switch)

“It’s dangerous to go alone! Take this.” was the only instructions given to Link when we were first introduced to the character, and series, back on the original NES. That all too brief bit of advice actually told us quite a bit. The world was in peril from some sort of evil, and that Link would need to be well prepared for it. It is that same underlying message of being prepared that is introduced to us all over again in The Legend of Zelda: Breath of the Wild and it couldn’t be truer. Breath of the Wild is not only the most wildly ambitious and incredibly polished entry in the Legend of Zelda series, it’s quite possibly the greatest Legend of Zelda game to date.

I consider myself a fairly big Legend of Zelda fan, despite not fully completing a few entries in the series. My favorite, up until Breath of the Wild, was Wind Waker as not only was it as near perfect to an adventure game as you can get, it just had a level of polish that most developers can only dream of having in their games.

Right from the beginning of Breath of the Wild, you are told very little. You are given a few hints on the plot and then set on your path. You know that Princess Zelda is out there somewhere and that Ganon, or as he is called here; Calamity Ganon, has taken over the kingdom. You’ll come across a few gameplay hints via the loading screens or from various NPC’s that litter the world, but a lot of it, and I mean a lot of the what’s and how’s, are left up to you to figure out, and the creative fun that comes with doing so.

I’ve heard a few stories about how some players tackled certain objectives, despite how complex or simple the more traditional methods would be. One such example left me rather impressed. During one of the Dungeons, a player couldn’t find a second power node to open a door. They noticed that both platforms required electricity to run and they, in an act of desperation, came up with a rather impressive trick. When Link is out in a rain storm you have to be worried about wearing metal when you hear thunder about as you can get struck by lightning. Using this logic, they placed metal weapons from one node platform to the next. Upon placing the node on the platform, it transferred enough power to the adjoining platform and powered the door. During my playthrough, I had no problem finding that second node, but it’s nice to know that no matter the player, you can find your own way. I lost track of how many times I had an idea and it paid off, with the game at no point telling me I could play that way or forcing me down one direct path of reasoning.

It is in this creative ingenuity that makes the open world of Breath of the Wild so fresh and original. Sure, the world abides by a few open world gameplay designs like collectibles strung everywhere and points of interest allowing for fast travel and map revealing, but it is the way in which you interact with this world that is unlike anything I have ever seen. Want to bake apples? Hold a torch under an apple tree. Want to cook some fish or sear a steak? Throw it on the ground while visiting Death Mountain. You can freeze meat with an ice arrow or throw a metal weapon at an enemy in a storm to have lightning finish the job. There are so many different ways that the environment will affect either Link or the materials of his weapons or items that I could just go on and on, but I’ll leave the rest for you to discover on your own.

As you explore the massive open world around you, you’ll often rely on your paraglider, an item you’ll earn within an hour of starting the game, should you stick to the main path. The paraglider allows you to glide on the wind currents to essentially fly around the map. Should you need to reach a higher location you can simply just scale the surface. These feats of exploration are held in check via a upgradeable stamina system that also limits how far you can run without becoming winded or swim without drowning. The wall climbing is also limited to outdoor areas as climbing up walls in dungeons or shrines are just not possible, it’s also worth noting that rain will prevent you from scaling surfaces as well, but oh, we shall talk more about the “rain” later on, don’t you worry. The game also has a 24 minute day and night cycle that changes the locations of various NPC’s, merchants and even what types of items and enemies you can find nearby. Even certain side quests and various shrines are only accessible at key hours in the day.

Before I get too involved talking about the story, weapons and various other systems the game has to offer, I want to take a moment and talk about how gorgeous this game is. While I am playing on the Nintendo Switch, the game still looks rather impressive on the WiiU. As I mentioned above, Wind Waker was my favorite pre-Breath of the Wild Zelda game and a lot of that had to do with the art direction. Breath of the Wild grabs ahold of the look that Wind Waker contained and finds a nice middle ground between that and the previous Skyward Sword. The game has an almost anime inspired look to it, with characters looking fully animated and having remarkable detail even among how simple their designs can be.

Regardless of traversing cliffsides above lakes of lava or racing through the forests of Hyrule on the back of Epona, the widespread environments of Breath of the Wild are stunning in their beauty as well as the secrets that hide around almost every corner. The lighting and shadows that come with the day and night cycles can drastically change the look and feel of your surroundings and standing on a mountaintop to see the fog creep over the mountains is something else.

The Switch runs the game at a modest 900p, while both the WiiU and the handheld nature of the Switch run it at 720p. The WiiU version does have a bit of slow down even at 720p and the Switch, while docked on the tv at 900p has comparable slow down as well, mostly in areas that have lots of shadows in play. I never noticed any slow down while playing via the handheld mode of the Switch, but this could be due to the game running on Switch hardware at 720p. I also noted that playing Breath of the Wild via the WiiU gamepad’s screen is mostly blurry and I would recommend sticking to the TV mode for that console if at all possible.

The Legend of Zelda has always had tremendous sound design and Breath of the Wild ranks up there with the best of them. Each selection of music or sound effect is absolutely perfect and they even throw in a few classic sounds in some really interesting places. I love the musical melody that plays when your Sheikah Slate is scanning the map, or the ping your arrow makes when you get that critical headshot. Several characters of the game also feature some terrific voice acting that I wish happened more often throughout your journey.

As the characters you’ll interact with all have remarkable animation and detail, so do the various enemies you’ll encounter during your 60+ hours with the game. While there isn’t a staggering variety in types of enemies, the small details that encompass them will make you enjoy each encounter despite how repetitive it can get. Should you disarm your foe and then pick up their weapon, they will lash out with surprise and anger, pointing at you and shocked at what just occurred. I had an enemy retreat to set his wooden club on fire to attempt a better tactic against me, except I threw an explosive barrel at his face and he flew off the cliff. The personality given to many of the game’s foes is fascinating and can lead to some rather fun ways of dealing with them. One of my favorite moments was when I took a Cucco from a nearby village and caused a Lizalfos to indirectly hit the Cucco four times causing a massive army of Cuccos to unleash chicken hell on it, he didn’t last long.

After you break away from the basic Bokoblin’s and Moblin’s, you’ll start to encounter the Guardians, giant pillar looking enemies that can be stationary or mobile, should they still retain their spider-like legs. At first, they can be incredibly intimidating, but once you figure out a neat trick you can do with your shield, I started to go on a killing spree collecting all the rare items they would drop upon their destruction. Also, upon upgrading my stasis rune to freeze enemies, I found that I could halt them in their tracks for a few precious seconds and start chopping off their legs, crippling them in sheer delight.

There has been some talk about the weapons in Breath of the Wild as for the first time in the franchise, we have weapons that can break during combat. Each weapon has a variable limit to how many fights it can withstand and this can make or break your experience. Early on you will find weapons that will break after an enemy or two and later on you can find weapons that can outlive dozens of foes with even the Master Sword needing a small recharge after a certain amount of abuse. Eventually, you’ll find weapons that can be repaired, but I didn’t find them to be that much better than the disposable ones littering each and every battle. I often would revisit shrines to grab a few more Guardian weapons; glowing blue spears, axes, swords, and shields, as they can last fairly long and deal out some nice damage, plus it helps that they look really cool. Breath of the Wild has a vast amount of weapons for Link to wield, which is a huge change of pace from prior entries. I never found myself bored with combat as there was just a tremendous amount of variety in how to dish out damage to an unsuspecting foe and attempting to master the dodge and parry systems can be rewarding as well.

With the world being much bigger than anything else Nintendo has ever made, closing the gap between you and a nasty little Bokoblin can be made much easier with a solid arrow to the face. Link’s bow is far more essential this time around than ever before in a Legend of Zelda game. Arrows come in regular, fire, ice, shock, bomb and the ancient Guardian arrows that can one-shot almost anything. Jumping in the air and unleashing your bow will freeze time as long as your stamina holds out. I approached a small Moblin camp that had 2 of them sleeping while another kept guard. I paraglided in from a nearby mountain and dropped from the sky with my bow at the ready. The added time the slow down mechanic gave me allowed me to headshot the guard and fire off two arrows at explosive barrels that were just a few feet from the sleeping duo. Needless to say, the camp exploded in a flash of yellow and orange.

Working alongside your arsenal of swords, axes and bows, are Runes. These are special abilities that Link has access to via the Sheikah Slate, an ancient tablet that can learn new skills and be upgraded later on. These Runes are all available within the first few hours of the game so that you can freely tackle any of the Dungeons or Shrines in whatever order you see fit. The Runes that Link will have access to are Bombs, Magnesis, Cryonis, and Stasis. Bombs are pretty self-explanatory, but it’s the other three that really shake up the Puzzle dynamics here. Magnesis lets you lift and move metal objects around, Stasis lets you stop time to objects and enemies, and Cryonis creates ice platforms out of bodies of water. Several areas of the game force you to use these powers in tandem to one another and can lead to some very creative methods to solving puzzles. Later on, you will use the Sheikah Slate to take pictures or utilize the Amiibo compatibility.

Breath of the Wild’s large open world has a lot to explore and you’re going to be picking up a ridiculous amount of items and resources everywhere you go. The room you have for weapons is fairly small early on but can be upgraded to allow more space, which is great considering how fast some of your weapons can break. The resources you gather like fruit and meat can be used to cook meals that grant more health, temporary hearts and other buffs like extra stealth or boosted stamina. You can use monster parts like tentacles and bat eyes to create Elixers that do roughly the same things but without the health recovery. The cooking is incredibly addictive and the music and charm of the food bouncing around in the pot makes this a system that you’ll want to use, rather than need to. You will also outfit Link in a variety of outfits that have some sort of stat like extra defense, better stealth, or surviving harsh climates. Several outfits and weapons are also locked behind the use of Amiibo’s, which also work as a method of collecting resources as well.

Breath of the Wild changes up the themed Dungeons of Zelda’s past by making them giant mobile animal shaped mechs from a long passed civilization. These animal shaped fortresses are called Divine Beasts and there are four of them. As you progress from the start of the game, you’ll find that Link shares a history with the custodians of these Beasts, a group of warriors that attempted to help Link and Zelda stop Calamity Ganon 100 years ago. Considering the world is currently ruled by said evil gives us a clue as to how well this attack went.

While the Dungeons are very creative and well designed, they sadly don’t last too long and can be cleared in well under an hour. Once you discover the map in each Dungeon, you can alter sections of the Beast to allow access to sections of the Dungeon that are normally blocked. The Divine Beast Vah Medoh, the Bird, as an example, can tilt left, right, or just remain straight flat. Despite the disappointing length to these locations, they are still very engaging experiences that I still rather enjoyed. I would say that my biggest complaint regarding them is their lack of variety inside each of the Divine Beasts as they look nearly identical from one to the next.

While the Divine Beasts were once used to destroy Ganon, here they are actually tools to be used by Ganon himself and conclude with a boss battle with one of his minions. Each Boss has an elemental effect that is paired with the type of Divine Beast they inhabit. While these encounters are fun and engaging, I had harder battles with some of the Lizard enemies found in various areas of the map. Each boss has a few phases that are rather easy to figure out and I honestly can’t remember if I died once during these encounters, or had much of a challenge provided to me. I still think they are rather entertaining, I just wish the fights were a little more challenging.

Despite the short length to the Dungeons and somewhat disappointing Boss battles, the real stars of the show in Breath of the Wild have got to be the Shrines. These 120 locations offer up combat challenges, puzzle rooms or just a simple room containing a chest. The combat challenges range in difficulty while the puzzle rooms are where the Shrines truly shine. These elaborate puzzles make great use of the motion controls that Nintendo has perfected here. I’ve had to tilt my controller almost entirely around to solve a few rolling ball puzzles or swung it like a golf club to send an orb flying. I’ve been stumped by a few puzzles like one where I had to transport an Ice Block from the start of the Shrine to the end, carrying it in my arms until I had to drop it to use Magnesis to block a wall of fire. I sat there wondering how I could move the Ice Block with my hands full using Magnesis until I figured out that I had to fail certain aspects of the objective to succeed.

I wish I could say that the underwhelming Dungeons and Bosses were the only issues I had with this near perfect masterpiece, but sadly, no, there are a few more problems with the game I need to mention. I’ll start with the biggest problem I had with the game; the rain. While I really loved the elemental effects that the game can offer with regards to creative game design, the rain can become more bothersome than anything else in the game. See, you can’t climb during the rain and often upon nearing the top of a mountain or needing to climb to find a Shrine or some other motivation for the tough climb, I’ve had rain storms show up suddenly and cause Link to just slip and fall off the mountain. While I didn’t find this to be game-breaking, it did lead to much frustration and often I would just give up on that area and move on to something else. Had some type of climbing claws or a climb-during-rain perk for the upgraded Climbing gear been made available later on in the game, I could have dealt with it, but as it stands now, rain can put a damper on how fun this game can be.

As for Link himself, he can be quite the problem as well. I’ve had to run away from various enemies and have had him auto-climb a tree or a rock or if you got too close to the camera and initiated the auto-climb, it can be a split second mistake that can cost you your life. While the auto-climb is great when you’re falling to your death and glide into a wall, it can be disastrous during a combat encounter, especially against enemies that can one-shot you. I also had an issue with the recovery speed of Link when he gets knocked down. Many times I would be knocked down by a Guardian or one of the Lion flavored Minotaurs, and before I could get up I’d be blasted or hit all over again. I don’t mind challenging combat, but at least let me get back up and get injured due to my own mistakes and not poor game design.

I’ve spent the better part of three days writing this review and wondered if I would award a perfect score to this game or not. While it has its flaws, it still is a game that I constantly think about and count the minutes in my work day till I can get home to play it again. I converse with friends and co-workers endlessly about this moment or the next, eager to see how someone tackled a particular foe or puzzle. Yes, the rain can be bothersome and yes Link can cling to a tree or rock during a crucial battle, but in the end, Breath of the Wild is a fantastic experience and worthy of the highest score I can possibly give. A game like this, one that raises the bar in so many areas, needs to be awarded praise and recognition. This is a game very untypical of Nintendo and it can be rare to see this type of genre redefined. Even after beating the game and tackling every Shrine the game has to offer, I am only just getting started, and until then, you’ll catch me east of Hebra Tower playing Snowball bowling for another 300 Rupees.

The Legend of Zelda: Breath of the Wild was reviewed on a retail copy of the game, and comments regarding the WiiU version were from observations of seeing it in action. All screen captures were taken from the Nintendo Switch via its upload to Twitter function.

Game Review: The Legend of Zelda – Breath Of The Wild (Switch) was originally published on Game-Refraction

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nazih-fares · 7 years

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Back in 2013, American studio NetherRealm surprised the video game multiverse with Injustice: Gods Among Us (or as I reviewed it in the Middle East as Injustice: Mighty Among Us), combining explosive combat and an epic scenario with talent from the Justice League comic book universe. Now 4 years later, right after the success of their main and iconic fighting game franchise with Mortal Kombat X, NetherRealm gives us a new sequel based on the stories and adventures of the Justice League with Injustice 2.

The terror regime of Kal El (Superman) is no more than a tenacious memory after the event of Injustice: Gods Among Us. The tyrant Kryptonian overwhelmed by the loss of his wife Lois Lane and self-proclaimed “Judge, Juror and Executioner” is now held in place by a “red sun” powered prison. The defeat of Superman precipitated the fall of his regime of terror and almost destroyed Earth, and so from the ruins of this world, tiny hope came back thanks to Batman and his new team. The enemies of yesterday have become allies of today (like Harley Quinn) and the Justice League is split by each hero’s revenge plans or selfish motives.

This period of tranquility will be short-lived sadly, as you soon discover that a criminal organization led by Gorilla Grodd took advantage of the Justice League dismantled to revive the flames of discord and chaos, creating a new group of vilains called “The Society”, led by a new threat from the confines of the universe that will soon strike the Earth. The founding members of the Justice League will once again join forces and face the planned destruction of the world. But will this alliance resist the diametrically opposed visions of its two leaders which is Batman and Superman?

NetherRealm’s writers reiterate with Injustice 2 the features of the first Injustice: Gods Among Us which is based on rivalry, an ideological conflict and the end of the world. And if playing a fighting game for its story mode is usually something rare, Injustice 2 fuses perfectly the fist and the pen, giving us an epic narrative inspired by the some of DC Comics most appreciated story arcs. The invasion of the Earth by Brainiac as well as the Batman vs. Superman conflict will rejoice fan’s interest and enrich an adventure with multiple twists, proving that NetherRealm undoubtedly mastered the comic narration codes.

The story mode assumes its role as a tutorial and introduces perfectly the majority of the game’s roster (mostly the heroes), via 12 different chapters that could take you 5 to 6 hours to finish depending on the difficulty picked. There’s also 2 alternate endings, as well as the opportunity to play different segment during certain chapters that are based on a duo (like Blue Beetle and Firestom). In simple terms, Injustice 2’s secondary story ending is only available once you finish all different alteration of the numerous chapters, which could add 2 more hours of gameplay to your brand new game.

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On the point of view of presentation, a strong point from NetherRealm Studios’ productions, it is similar to the conflict in the story. While graphics are not mind-blowing, the difference between the 2013 Injustice: Gods Among Us and Injustice 2 is undeniable, with more enhanced and fluid animations, and really great character design (big fan of Blue Beetle). The 12 battle arenas are detailed with care, filled with many interactive elements for each type of characters, resulting in an explosion of colors and pyrotechnic effects giving more kick to these heroic clashes. I’ll admire the great work done on the smooth transition between chapters, jumping from battles to cinematics without the need of loading screens.

The lore of the Justice League is dense and full of characters more or less known to everyone. While it would great to add everyone, I feel like NetherRealm picked the right fighters to prevent ruining the precarious balance between previous ones from the original game, and new ones that make sense for the story, without losing sight of the title’s competitive aspect. With this, Injustice 2 launched with 28 characters, including new heroes and villains with a unique style never been seen in the first game, starting with the story’s villain Brainiac, Firestorm (from Legends of Tomorrow), Blue Beetle (from Teen Titans), Gorilla Grodd and much more. Note that Darkseid is also available if you preordered the game or you can also give in to buying the upcoming DLCs, which will add 9 new characters this year including Starfire, Red Hood, and Sub Zero from the Mortal Kombat universe (a guest like Scorpion was in the first Injustice).

To please the fans by the number of characters is not so difficult but to make sure each of its fighters has its own charisma and class is another story. Injustice: Gods Among Us had divided the community and Injustice 2 might probably do the same, because by moving away from DC’s extended universe design and comics to develop its own “lore”, NetherRealm takes a risky bet. Comic book fans are by nature fussy and the slightest gap would trigger a wind of criticism, especially since most characters costumes and their equipment are so different from the originals or even the most modern versions. Closer to an armor than a costume for the majority of the characters, these outfits refresh the license while digging in past and present lore with more or less success. Harley Quinn, but especially the Joker, are inspired by Suicide Squad, while Wonder Woman reminds us of the old 1975 TV series, which could be fun… My only issue is that character faces lack of soul and even life experience, like Superman’s features make him a smiling boy scout and hinder the anger that should animate him.

NetherRealm Studios’ productions have always accentuated the spectacular, ranging from the X-Ray and Fatalities of Mortal Kombat to the Supers of Injustice, and its sequel Injustice 2 follows the same path. Heavy strikes and epic attacks reflect the extraordinary power of these superheroes and villains, as well as doing justice to their status as iconic figures of popular comic book culture. Injustice 2 characters thus crumble under the violence of the blows, although the lack of visual feedback on their body diminishes this feeling of power. I mean seriously? I know that Superman’s cape is made of Alien materials, but Batman’s gear surely cannot be perfectly clean after a Black Adam Super even in Comic book logic.

In any case, NetherRealm’s faith in his vision of fighting games is unfailing, and that’s the important thing after all. Easily accessible to newcomers and rich enough to keep the attention of veteran fighters (especially with the new eSports tournament series), Injustice 2 refines a gameplay proven on the 3 previous NetherRealm Studios games. You got you super gauge, grabs, abilities, combo, arena interactions and transition, super hits, special attacks… The palette of a perfect fighting game basically returns and will not surprise the fans of the first game. But Injustice 2 is not a simple copy-paste, and NetherRealm innovates with simple additions, like the addition of a dodge roll.

Injustice 2’s combos launch with ease and require only a very limited number of keys, however to fully perfect it and become a virtual martial artists, things are more in the sense of “easy to play, hard to master”. The most devout players will sharpen their combos and dissect a game system much more complex than it seems, ranging on all fronts of fighting game mechanics. The mere mastery of cancellations and parry-dodges gives a definite advantage in the arena while the Burn-Gauge option is essential to get out of a tricky and cornered situation. SImilar to the first game and Mortal Kombat X, consuming a bar of the “Super” gauge will allow a character to extend one special attack in terms of damage inflicted. In short, as you probably understood, Injustice 2 is tailored to satisfy casual gamers and eSports competitors around with a common passion for the brawl.

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While most fighting games have the option of customizing its fighters, these were purely cosmetic skins having no impact on gameplay, like a new costume or different haircut… But NetherRealm has ignored the players’ fears and has fully integrated into its title an RPG component with a loot system. All Injustice 2 characters are defined by four set of stats (Strength, Ability, Defense, HP), which can then be “enhanced” with a set of equipment gained throughout the game. These can range from new skills, to more powerful armor and weapons, letting Injustice 2 roster customize themselves accordingly and benefit from improvements such as extra experience gain, more magical attack resistance and more. The only constraint some players might see from this system, is that most items require a certain character experience level to be able to equip it, therefore demanding a required a lot of playing time. In the end, it is impossible to surpass an opponent by simply equipping a bunch of new items, plus nothing beats the sensation of a complete and full armor set which can give you even more boost. Even in some instances, special skins or shaders (called Premium Skins) can alter dramatically the style of a character turning for example the Flash into its archnemesis Reverse Flash, Supergirl into Power Girl, each with its different voice lines and sometimes changes in the animations.

Fans of Superman, Batman, Wonder Woman and more will be delighted to let their imagination run wild with all these customization options. But unfortunately, nothing is free in the world of DC Comics and it will be necessary to dominate the Injustice 2 arena to unlock all the coveted items and loot. To do this, the Story mode is a good start, but the Multiverse mode is the end game grind, as it will allow you to collect Mother Boxes (loot boxes) which release all sorts of different currencies, items, armors, weapons and even shaders according to the rarity of the box. Of course, by using the RNG principle made popular in MOBA games, this random Loot system will force impulsive collectors to intensive gaming sessions which could end up great.

The Multiverse mode is also a well-known concept of fans and feeds the DC Comic’s worst-case scenarios for ages. The discovery of this tangle of universes opened a Pandora’s Box, which has the Justice League constantly monitoring with the help of Brother Eye, a super power computer technology invented by our billionaire Bruce Wayne. From this concept comes infinite opportunities of challenge, giving you series of matches to complete (as well as side challenges), with set modifiers, changing every couple of hours, reminding me of the Living Towers of Mortal Kombat X. For that, expect things like helping Black Adam avenge the death of his wife Isis on Earth 8143, or even help Scarecrow spread havoc on Earth 2415 and so on.

The first battles resemble a course of normal matches, with enemies posing only weak resistance but things eventually get tough. A level of difficulty and various parameters add more complexity, like a speed boost, or reduced timer… the Multiverse challenges are vicious by nature and can give the most seasoned fighters a hard time. But the mode is worth it, especially when it comes to its rewards, but also to discover a sort of “What if” a another character than Superman and Batman had saved us from Brainiac’s doom in the Battle Simulator.

Of course with a typical Player versus Player worthy of the name, a fighting game can not claim excellence so much that the solo often remains anecdotal. Aware of the trends of competitive gaming, Warner tries to impose on the eSport stage and the intentions of the editor are displayed fully in a PvP mode that can be played online or local, with dedicated Tournament mode (following rules set by the Injustice 2 Championship Series), ranked modes and King of the Hill. The matchmaking and net code – the pillar of a quality online experience – hasn’t suffered any sort of problems at launch, and it’s probably thanks to the closed beta this year, and even with my humble connection, a few seconds are enough to find an opponent and launch into a fight.

Injustice 2 was reviewed using an Xbox One retail copy of the game provided by Warner Bros. Interactive. The game is also available on PlayStation 4 via retail and online stores. We don’t discuss review scores with publishers or developers prior to the review being published.

It's no surprise that the sequel of a great game is one as well, and Injustice 2 fuses perfectly a fighting game with a DC Comic fan service. Back in 2013, American studio NetherRealm surprised the video game multiverse with Injustice: Gods Among Us (or as I reviewed it in the Middle East as…

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