Follow us on Twitter: @ggtl
Join our friendly community!
Latest news
28.6.12
Spec Ops: The Line
Developer
YagerPublisher
2KPlatforms
Xbox 360, PlayStation 3, PCReviewed on
Xbox 360Genre
Third-Person Shooter, MilitaryCertificate
PEGI 18+, ESRB MYager Development's Spec Ops: The Line is a game that looks and feels like the competition, but instead of following the safe and derivative path that's usually carved out for the genre, forges its own dark and gritty route that contemporary games hardly use. If, by year's end, people still aren't talking about the narrative this game yields, some of the magic of the gaming industry will have surely faded.
Video review
It's tough to advertise, let alone sell someone on a game that puts 'military' and 'shooter' in today's market. Literally polluted with a deluge of games sharing the same ideas and gameplay, gamer's like myself turn a blind-eye to these games without giving it a second thought. It's this reason that I fear Spec Ops won't get the attention it deserves and, I assure you, it definitely warrants some attention.
By skipping out on this game, you're missing one of the single most important tales a game has told since the original Half-Life. Bold as that statement may be, it's as real as it can get. Half-Life's opening scenes were revolutionary and turned the gaming world on its head. Spec Ops won't have that same effect as a whole since the industry has evolved, but the narrative it weaves is one that simply has not been done nor explored by anybody. Over the course of the game you'll ask yourself what you're doing, maybe even why and then when you approach the game's conclusion you'll be simply blown away.
Yager was nice enough to include me in the game! Wait...
To give it a premise, you control Captain Martin Walker of Delta Force with his two comrades-in-arms, Sergeant Lugo and Lieutenant Adams. The trio has been tasked with tracking down Colonel John Konrad of the 33rd Infantry, whose last known location was the annihilated city of Dubai. Having volunteered the 33rd to evacuate the people from encroaching cataclysmic sandstorms, Konrad and company failed the evacuation process and have yet to be heard from. While you don't know what to expect from the decimated city, it's obvious that everything isn't as it seems.
Incredible and emotional as the story is, Spec Ops really shines by allowing the player to make moral decisions that aren't black and white, Paragon or Renegade, good or evil. Regardless of what you choose, somebody somewhere will be hurt by your choice and sometimes you might not even fully understand what's going on around you. While that might seem upsetting to some, having moral ambiguity in serious situations, especially while under duress, is refreshing and potent. Every situation where you're presented with a choice weighs heavy on the conscience, making it quite a memorable scenario.
This is a pretty spooky scene.
The situations where you have to make a choice are fantastic, but regardless of your decision, the game will still progress down the same road. You might get a semi-different cut-scene or skip an area that would normally be full of enemies, but that's the extent of differentiating factors within choice. While I agree that it would have been awesome to have more variety in the pathways, it still doesn't take anything away from the narrative or the emotion of the moment.
Speaking of emotion, the atmosphere Spec Ops provides is superb. Dubai is an original setting with flowing sands and bright colors that are all surrounded by the dilapidated structures of the once great city. It's all appealing to the eye, in a destroyed beauty kind of way and your squad-mates will let you know how they're feeling as well. It's not one of those contrived conversations that you feel forced into, but rather a more organic advance. Basically, as the game progresses and choices are made, Lugo and Adams will bicker, fight and even question your decision making process. It gets to the point where what they're saying can be straight up offensive, but the delivery is so genuine it hits you hard.
The environments are refreshing to behold. Also, sand.
Gamers familiar with the Gears of War series will find Spec Ops combat system familiar and satisfying. Unlike Gears, Walker can only take a few hits before he bites the big one, making cover play a bigger role in every fight and often a requirement. The cover system works well, but it'll take some getting used to since the melee button is tied to the vault button. Sometimes you might find yourself taking a swing at that cement wall instead of jumping it, but with a small amount of time you shouldn't have any further issues.
Being in the desert, sand plays a significant role in combat. Throwing grenades kicks up a dust cloud that gives you some extra cover and shooting certain areas reveal billions of tons of sand that can either aid you into getting to the next area, or smothering your enemies. Weapons feel great to fire and give off some very satisfying sounds when they hit home. There's a good variety of different weapons to choose from and they all come equipped with a unique secondary fire, such as the M4A1 which sports a silencer for a less noisy solution.
They might not seem like much, but you'll become attached to these dudes by game end.
The melee attacks are especially vicious, more so when you hit an enemy so hard, his helmet flies off as he goes airborne. You can also execute enemies who are bleeding out with an assortment of brutal moves and that's actually something else Spec Ops does very well. To tie in with the emotion the game is trying to convey, oftentimes when you shoot an enemy they won't die immediately. They'll crawl around begging for help or groaning in immense pain as the last breaths of life leave their body. While it doesn't affect the overall game or the choices you're presented with, it's almost like a soft-choice; what kind of monster are you?
Something I found woefully absent was the usual feature of co-op. Being a three-man squad, I couldn't help but think Spec Ops would be that much better with two of your good friends helping you unravel Dubai's mysteries. I spoke to Cory Davis about why they omitted co-operative play at E3 and it makes sense, but I still feel that option should have been there. At least a co-operative, prequel-esque mode is in the works and will be available free to those who bought the game very soon.
You'll be seeing a lot of this.
To compensate for the lack of a buddy helping out, you can control Lugo and Adams in a simplified manner. By tapping or holding a button, both your dudes will focus on a target and pay attention to the situation they're in. That means if someone's extremely far away, Lugo sets up his sniper and goes to town while Adams is more close-ranged and might chuck a grenade in for style-points. They'll even attack two different targets if two are in the vicinity or even attach silencers to their weapons if the situation calls for it. It's nice to have decent AI, but I still would've had a friend with me in the trenches.
Once you're done with the story, multiplayer does allow for some extra fun, but it's definitely not the main focus of Spec Ops. There's some cool ideas nestled within, but for a game that's so original it's surprising to see the multiplayer fall right into the conventional multiplayer mechanics we always see. Perks, loadouts all that stuff you can liken to Call of Duty is present, but multiplayer still has some charm to it with Battlefield-esque team abilities and some modes that are better than the usual team deathmatch. It's not great, but it can provide a decent distraction if you really need it.
The atmosphere is incredible.
Spec Ops is one of those games that's going to fly under the radar of most gamers and that's not acceptable. While it ostensibly appears to be your typical generic military shooter, within a short period of time it becomes much, much more than that. The single-player will take you around eight hours to complete, but it's an experience you won't soon forget. The events that unfold in Spec Ops are horrifyingly fantastic and if you care about originality within a genre full of trite and predictable material, you'll help by giving it a chance.
8/10 [?]
Labels: Andrew Whipple III, PC, PS3, Review, Spec Ops: The Line, Xbox 360, Yager Development
- Andrew Whipple III
Double Dragon has always been one of my most treasured vintage franchises. While never finding a successful way to extend its legendary reach this generation, Majesco and Way Forward might have finally discovered it.
Combining everything Double Dragon with contemporary visuals, auditory style and bucket loads of exaggeration, Double Dragon: Neon is basically The Expendables of video games. With that said, if there's one arcade game you should be excited for, it's undoubtedly this one.
Double Dragon: Neon interview
We covered a bit of Neon back at PAX East in April and a lot has changed since then. In our hands-on demo, the always classy Pete Rosky showed us some of the new mechanics. But before we get too deep into that, I feel it's necessary to state that Neon is a full re-imagining of Double Dragon. It's a proverbial love letter to Double Dragon and the 80's so expect to see everything you loved about the old school games, but also expect to see them refined and fully exaggerated. Perhaps that might put some people off since it isn't a 'pure' remake of the game, but I implore you to stay with me here.
There's always time for a high-five.
The original levels and moves are exactly how you remember them, but with more flair and less flak. For example, controls have been smoothed out and modernized. Instead of pressing two buttons to jump and hoping it works, you can tap one button like a normal game. The first level still begins with Marian getting brutally gut-punched and ends with you blasting off into... space. So that space part wasn't there before, but the humour injected is priceless. Once again, expect everything from the original game but better. Billy and Jimmy Lee go into space, man. Seriously, just take my money.
Gameplay lost in time.
Back to the mechanics. So Neon follows an upgrade system focused on what's called the mixtape. Like the times of old, each tape has two sides; A and B. The 'A' side is your physical abilities like grenades, fireballs and that classic elbow everyone loves. Side 'B' is all about passive moves that can increase your health, speed or even abilities on the 'A' side. As you progress through the game, you'll find new tapes and cash you can use to augment your dudes at the Tapesmith. Yes, the Tapesmith. Actually, tapes play such a major role in the game that if you're playing with a friend and he goes down, you can revive him by reeling back the mixtape. Maybe some of you young 'ins don't get it, but someone like me who actually remembers those things should find it rather hilarious.
Double Dragon: Neon gameplay
All joking aside, the combat is incredibly solid in Neon. It's still the same 2D sidescrolling beat 'em up you loved and the system still remains fun. Of course, the best bet is to play the game with a buddy and there will be multiplayer over the internet as well as local. Going with the exaggerated theme though, expect to find crazy weapons like a cattle prod, a ninja sai and even a hair comb. You can even give your buddy a high-five to split your health if someone is running low, or to slam the enemies around you to the ground who witness the pure masculinity of the moment. Clearly Way Forward is having a blast making this game and Pete Rosky had this to say about it:
"Imagine you got the opportunity to take your favorite parts of the Double Dragon franchise and make your own game. That's exactly what Way Forward did here."
Any self-proclaiming Double Dragon fan needs Neon and while it's definitely different, the experience in the package is solid to recommend it to practically anybody. Unfortunately there still isn't a release date on the game, but we do know it'll be out before the Summer ends. Expect it to be around the $10-15 mark or 800 to 1200 Microsoft Astral Pennies.
Labels: Andrew Whipple III, Double Dragon Neon, E3 2012, Interview, Majesco, PS3, Way Forward, Xbox 360
- Andrew Whipple III
Sometimes, just before you witness something grand, you get that indescribable feeling that what you're about to experience is going to be incredible.
That's what I felt when we were ushered into the Bethesda theater to watch the showcase on Dishonored, Arkane Studios' supernatural stealth-action adventure title. Easily stealing our game of the show award, Dishonored not only draws some of its strength from the magical titles of old, but it manages to be seminal in world plagued by derivative and hackneyed titles.
Dishonored interview
You are Corvo Atano, a legendary supernatural assassin who is blamed for the murder of the empress of Dunwall. Your job is to find out who framed you, why they did it and then enact revenge upon them. A simple premise, for sure, but what makes Dishonored different than any other game out there is... well, basically everything.
The city of Dunwall can best be described as a steampunk city in the midst of a semi industrial revolution. The entire game will take place within the walls of the city so expect it to be enormous and writhing with life for you to pass judgment on. Each mission will drop you into a certain part of the city where you make the path to the objective. Sometimes side-quests appear that may or may not help you reach your goal, but there are always multiple pathways to reach the mission end. Whether you lay a path of destruction or take a more mild approach to your enemies is another choice and each way opens up new scenarios you'll encounter. How's that for being different?
He was a Dallas Cowboys fan. What?
Still not satisfied? Much as it alludes to, Dishonored is not an open-world game. As a matter of fact, each mission is hand-crafted and tailored to the situation. While that might put some people off, I remind you that old-school games like Thief worked much in the same way. Ostensibly the game may seem linear, but within each mission structure are a multitude of options and, as I previously stated, multiple pathways to get to the main objective. You can complete entire missions without killing anyone. Better? You're a supernatural assassin. There, how's that sound?
It doesn't matter how badass the protagonist or setting sounds if the combat is shabby and thankfully Dishonored delivers. Being supernatural and such, Corvo will have a ton of options of how to deal with each situation and yes, there will be upgrades to sate that RPG fanatic within. For instance, let's say a patrol man makes his way over to a secluded area but killing him there still might get you seen eventually. Well, use Corvo's blink to teleport right behind the target, stab him in the neck, pick the body up, blink back onto the roof. Done, and all within a good five seconds.
It might not look like much, but what you aren't seeing is something magical or in this case... supernatural. Sorry.
Combat is just as satisfying as it sounds. Players who relish timing-based mechanics can make Corvo parry and counterattack with ease. At one point in the showcase, Corvo wielded both a one-handed crossbow and a sword to fend off an assault of guardsmen. We also saw Corvo control the wind to throw back a missile at one of the enemies called a Tall Boy. He even called a swarm of rats to rip a man into tiny bits. Excessive, but oh so necessary.
You never see games explore areas like this and, being a stealth game fanatic, this is something I've been waiting to see for some time now. Lethal or non-lethal methods of play, your actions changing the missions dynamically, supernatural moves, a steampunk environment, a seemingly solid story, it's all gold for someone like me. If the game plays as fluid as it did on the showroom floor and delivers on what we've seen so far, it'll be hard not to consider it a game of the year contender. Get ready, because Dishonored drops October 9th on PC, Playstation 3 and Xbox 360.
Labels: Andrew Whipple III, Arkane Studios, Bethesda, Dishonored, E3 2012, Interview, PC, PS3, Xbox 360
- Andrew Whipple III
Surprised as I was by many games at E3 this year, none surprised me more than the once thought canceled Aliens: Colonial Marines becoming a canonical sequel to the films.
Having grown up on those movies and still possessing the old-school figurines, this news excites me beyond description. It also helps that the game is a blast to play, but we'll all have to wait until February of next year to get our hands nice and dirty with it.
Aliens: Colonial Marines interview
As far as becoming integrated with the overarching story, I believe Colonial Marines will be the first video game ever to become part of something as renowned as Aliens. Speaking to senior producer on the project, Brian Burleson about Colonial Marines becoming canon, he had this to say:
"It's amazing to think that the sequel to the films is a videogame and to be able to work with 20th century fox to make this canonical, you have to do a lot of groundwork, you have to meet the right people, you have to make sure you cross your T's and dot your I's 'cause so many people care about this and are passionate about this franchise that go back 26 years."
Colonial Marines will take place after the events of Alien 3. Expect to see everything in place, from familiar characters, weapons, machines and the xenos themselves. Gearbox wants to create a rich, accurate experience that Alien junkies will devour. After all, it's not every day that a project is green-lit like this.
You're probably going to be in this situation a lot.
The game itself will feature a four-player co-operative campaign where your friends can drop-in or drop-out at any point. For those who can't trust an online companion to help get you through the xenomorphic threat, split-screen will also be implemented. While Gearbox was mum on details about other modes, multiplayer will be a large factor of the game. Unfortunately team deathmatch was the only mode that was being shown off, but it was still rather fun.
Taking much inspiration from games like Left 4 Dead, team deathmatch revolves around two teams of five racing to a specific kill score. Regardless of your choice to side with the malicious xenos or the trigger-happy marines, each side will be customisable with various loadouts or classes. For example, the xenos will be able to choose between various breeds and can eventually evolve into something called a Crusher. Like the Tank in Left 4 Dead, the Crusher is a massive beast that can take a ton of punishment and excels at causing utter chaos. Since marines typically want to stay together to survive, the Crusher can charge in to divide the team, leaving the rest open to assault the helpless marines.
I wasn't lying. This thing is big.
The marine side of things allows you to choose an assortment of weapons and perks, while also generating powerful weapons that can be picked up throughout the level. For instance, the iconic Smart Gun is one of these pick-ups and makes short work of any kind of xeno crossing your path. Ammunition is limited though, so you'll need your team to back you or risk using up the powerful weapon just as fast as you picked it up.
Surely more modes will be revealed as time progresses, but from what we played Colonial Marines proved to be a fun multiplayer experience. If being canon for the series isn't reason enough to give this one a shot, then maybe the mixture of co-op and multiplayer will entice you further. Whatever the case, February 2013 can't come soon enough.
Labels: Aliens: Colonial Marines, Andrew Whipple III, E3 2012, Gearbox, Interview, PC, PS3, SEGA, Xbox 360
- Andrew Whipple III
Being one of the most prestigious franchises in contemporary gaming, you probably don't need me to tell you to get excited for Assassin's Creed III.
While Ubisoft has been cranking these puppies out, ACIII will prove to be their greatest undertaking yet by exploring unfamiliar areas, even to the developers. New open world environments, a brand new combat system, naval battles, improved stealth elements, a half British half Native American protagonist, it's clear Ubisoft isn't trying to make this game good - they're making it unforgettable.
Assassin's Creed III interview
ACIII will explore the often untouched American Revolution time period. Made distinct by the unexplored lands, expansive environments and deep woods of that time, it's an area unfamiliar to Assassin's Creed in general. Playing as Connor, the new protagonist, you'll find yourself running through these wild environments scaling trees and jagged cliffs while combating the fierce weather and feral animals. Don't worry, great as the new scenery will be, dense cityscapes will still make an appearance with Ubisoft's trademark accuracy. Boston and New York will be the focus in ACIII based on a one to three replication ratio. Expect to see timeless buildings like the Old Boston State House as well as the historical Long Wharf. We were also told to be ready to experience events such as the Great Fire of 1776, which we're sure no good will come of.
Revolutionary War venison tastes so good, the Animus shuts down because its jealous it can't have any.
It's important to note that these outdoor environments will feel as you'd expect them to; huge. According to Ubisoft Associate Producer Julien Laferrière, the forested areas are 2,000 x 2,000 which is roughly 1.5 times bigger than Rome in Assassin's Creed: Brotherhood. Being that massive, you can climb every single tree and rock, setup ambushes from the safety of the wood and explore brand new gameplay options that have never existed before in the Assassin's Creed universe.
One of my favourite new mechanics I saw in the showcase was the new weapon called the rope dart. Hailing from a Chinese descent, the rope dart acts as a multipurpose weapon used to take out one opponent. During the demo, Connor was positioned in the trees and used the rope dart to hook a soldier by the throat. Immediately jumping down, the rope slung the helpless soldier into the trees, dangling for his comrades to discover moments later. Whether you use this to take out a target quickly or for more of a distraction is up to you.
Is the apple I took really worth THAT much to you?
The combat has been completely reworked and rewritten for ACIII. Connor is especially handy with an axe and dual-wields, which required a system with more finesse and skill. I can tell you the system is extremely responsive and satisfying, especially when groups of enemies come into the fight. What's neat about this rework is that is also effects the AI. No longer will your enemies be relatively dumb in the fight nor will they allow you to exploit them into doing stupid things. Wait, an Assassin's Creed game where the AI is actually going to present a legitimate challenge? You better believe it.
The most talked about feature of the game would have to be the naval combat and with good reason. Once again, Ubisoft is trying to stroll out of their comfort zone and make something that's worth playing. While we don't know how much of the game will require naval warfare, you'll definitely be able to control your own ship from a third-person perspective. You can leave the helm at any time, interact with your crew, customise your belongings, etc. You can even tweak your cannons by feeding them specialised ammunition, you know, for all that deep sea pirating you're going to do.
Have you seen a hooded man that looks kinda shady? No? Move along.
ACIII looks mighty impressive and even if you're sick of the typical Assassin's Creed formula, there's enough different stuff here to warrant giving it a go. Whether playing the game purely for multiplayer, the new environments and naval battles or for the sake of the narrative, ACIII has something for absolutely everyone. October 30th can't come soon enough.
Labels: Andrew Whipple III, Assassin's Creed III, E3 2012, Interview, PC, PS3, Ubisoft, Xbox 360
- Andrew Whipple III
Being a guy who's been in and out of the Splinter Cell series, I found Splinter Cell: Blacklist to be one of the biggest surprises of E3.
Not only does it appear to be bringing back the original style of the first few games, but it's making use of all the major mechanics that have made each title great. Ubisoft Toronto is literally fusing all of these elements into a sort of, ultimate Splinter Cell monstrosity and you need to see it to believe it.
Splinter Cell: Blacklist interview
For a first title, Ubisoft Toronto sure has its hands full. Splinter Cell isn't exactly a under the radar franchise and fans will be expecting nothing but the best coming from Blacklist. I don't think there'll be anything to worry about though, because Blacklist was easily the biggest surprise for me at E3. Not only did its visuals look masterfully done, but the gameplay left me in a state of perpetual shock.
To give the game a premise, two-thirds of the world's countries are occupied by American troops. As you might think, some of these countries have simply had enough. Threatening the USA by bringing the war to their doorstep, these rogue countries have banded together to form the blacklist. Unless the military pulls out in a certain amount of time, the USA could experience high-grade forms of terrorist attacks and it's up to Sam Fisher to stop it.
Guys, there's some trouble somewhere in the world.
Now part of the 4th Echelon, Fisher is the boss and it's represented in the gameplay. With the ability to call in support via artillery strikes, Fisher isn't taking no for an answer from anyone. Grizzled and angry as he may be, Ubisoft Toronto clearly wanted to represent everything Fisher has gone through up until this point. Never hesitating for even a moment, the up close and personal moments where Fisher breaks limbs, smashes heads and gut-punches feel like they hurt. This is how Fisher was built up and it feels incredibly accurate, just... how old does this guy need to be before he slows down?
One of the new features Blacklist touts is an improvement on the mark and execute system from Conviction. Instead of building up a meter of sorts, marking and then letting the bullets fly, Fisher can do all of this while on the move. They're calling it 'killing in motion' and it's absolutely breathtaking to behold. In one fluid movement, Fisher can shoot a target, snap another's neck, jump over a cart, shoot two more dudes at the same time and then finish the last guy off with a stab to the chest; all in ONE MOTION. Capitalization is required for being too awesome.
Where'd everybody go?
I mentioned earlier that Ubisoft Toronto is taking the best elements from all the games. Expect to get your hands dirty with intimate interrogations ala Conviction, make use of nifty gadgets from the first games that'll make you smile, spies versus mercs from Pandora Tomorrow, co-op and a stealth element that isn't being talked about. According to Ubisoft Toronto, they're bringing stealth back in a big way and I'm excited to see just what they mean.
Of course, there's a ton more hardcore fans of the series will automatically notice when playing and that's something else to anticipate. It's great to see Splinter Cell being 'revived' by taking everything that's made the franchise so renowned, augmenting it and packaging it all nice and neat in one retail box. Expect Blacklist to make its way into your system in the Spring of 2013.
Labels: Andrew Whipple III, E3 2012, Interview, PC, PS3, Splinter Cell, Splinter Cell: Blacklist, Xbox 360
- Andrew Whipple III
Military shooters are a tough business. Not because they're hard to make or incredibly rare to find - it's quite the opposite. The conflict at hand is that there are so many it's difficult to become seminal in a largely derivative format.
Spec Ops: The Line hopes to destroy that trend being a third-person military shooter with an emphasis on, wait for it... the narrative. Crazy as that might sound, Spec Ops is coming together beautifully and you'd do well to spend some time with it.
Spec Ops: The Line interview
As I stated, the military shooter pool out there has far too many participants doing the exact same thing. Normally I'd do the irrational thing and dismiss a title with a name like Spec Ops: The Line, but I'm happy I didn't make that decision. Spec Ops is a game with a dark story that has a central focus on a squad of characters who've been sent to the ruins of Dubai. Once a beautiful location, it's been ravaged by cataclysmic sandstorms and is now considered no man's land. Stationed in Dubai to assist with the evacuation before the sandstorms hit, an enigmatic figure known as John Conrad has vanished and it's your job to discover what actually happened.
It's important to note that Spec Ops knows the kind of situation its throwing itself into and lead designer, Cory Davis from Yager Development had this to say:
"Those games that are out there in our genre are great games, they do what they do extremely well but they're a lot different than what we are."
Different seems to be the key word to describe this game, but it's not so different as to scare away normal fans of the genre. Spec Ops plays like a conventional third-person shooter with cover, blind-fire and team banter making requisite appearances. The game feels very responsive as you'd expect, but once again, the big difference is the strong emphasis on the personalities of the protagonist, Martin Walker and his squad-mates. The closest game I can think of where you're more intimate with your squad-mates is Gears of War, but that's severely stretching it. You simply don't get that kind of emotion in this type of game, but Spec Ops promises it won't disappoint.
I could be wrong guys, but... that ship is supposed to be in the water, right?
Being a squad-based affair, you'd think co-operative play would be thrown into the mix. While co-op is definitely in, it's coming in a different way (there's that word again). Available for free to anybody that purchases the game, a separate co-operative campaign will be attainable shortly after launch. While it doesn't deal with the characters you'll be playing in the main narrative, the co-op acts as a pseudo prequel that definitely attaches itself to the story.
To further augment the emotion and intensity of the situations you're presented with, Spec Ops will also contain decisions that have a dramatic impact on the story. Speaking about why the co-op mode wasn't thrust into the main game, Cory Davis explains that these decisions would have probably made less of an impact if they went through with it:
"We don't want you tea-bagging your friend while you're making a decision as to whether or not an important character lives or dies."
It's an understandable move and one I can definitely respect. If you don't agree, just think about games such as Halo 3 and Gears of War 3. When you put two or more people together when a scene of significance arises, you just don't get that same emotion as you would if you were playing alone. Some games do this well, but it's something you definitely don't see work often.
You said blind-firing was for pansies, man!
Spec Ops will ship with a multiplayer component, but it will focus on squad-based gameplay and a more intimate experience with your companions. Expect a strong progression system along with a plethora of maps when it ships.
Yager has done a commendable job so far and I'm looking forward to experiencing a game with a strong story that isn't an RPG. Mass Effect 3 was the last action-RPG I played with an incredible narrative and I hope to add Spec Ops to that extremely short list. With co-op slated to come soon after and a multiplayer component to help hold down the game's value, there's little reason why anyone shouldn't bother checking it out. The game ships June 26th for PC, Xbox 360 and Playstation 3.
If anything, you can at least marvel at the game's impressive sand physics because, you know, they're totally worth that retail price.
Labels: 2K Games, Andrew Whipple III, E3 2012, Interview, PC, PS3, Spec Ops: The Line, Xbox 360, Yager Development
- Andrew Whipple III
Parents loathe them, companies love them and your child simply needs them. Welcome to Skylanders, Activision Blizzard's incredible marketing tool that has taken the gaming industry by the throat - in a loving way of course.
Being the sequel, Skylanders Giants is introducing brand new giant models to the fold along with an assortment of other goodies that will undoubtedly send the world into a state of frenzied shock this holiday season.
Skylanders Giants interview
The success of Skylanders cannot be denied and neither can the concept behind them. Having a fully interactive experience with a collection outside of the game is purely genius and this isn't going to slow down with Giants. Looking to introduce eight brand new giant models, one per each element, the things are massive and carry with them brand new abilities that contain very powerful attacks. I mean, when something is named Tree Rex, you wouldn't expect its abilities to be lackluster, would you?
He's a carnivorous plant demon monster. Actually he's just big.
Along with the new giant figures are eight new standard sized Skylander models, also one for each element, and what's known as series two Skylanders. The series two figures are select favourites from the first game that come equipped with additional poses and abilities the older ones never had the pleasure of bearing. There are also new LightCore Skylanders that light up as they get closer to the Portal of Power, which should have your child screaming in delighted terror. It's actually really cool.
Unlike my terrible habit of calling it an expansion in our interview, it's important to note that Giants is a full blown sequel, not an expansion. The visuals have certainly been pumped up, voice actors have been brought on to give each model a more personal touch, new collectibles are being introduced and the level cap is being increased to 15 instead of 10. This means all your older Skylanders cam attain that higher level, grab the new hats and, you know, siphon even more of your life into the game.
Whatever this thing is, you need to run. RUN!
While I haven't personally sunk a huge chunk of time into Skylanders, I can tell you that just witnessing the changes that Giants brings makes a definite difference. It's clear Giants wants to be the definitive version of the mega-popular series and with Tree Rex alone, I think it's a done deal.
Expect the new game to hit around the holiday mark of this year. C'mon, you aren't surprised are you?
Labels: 3DS, Andrew Whipple III, E3 2012, PC, PS3, Skylanders, Skylanders Giants, Xbox 360
- Andrew Whipple III
When was the last time anybody got excited about a cart racing game? For me that was Mario Kart 64 which, in my opinion, has yet to be surpassed.
While I haven't dabbled too deep in the original Sonic & SEGA All-Stars Racing, after having played its successor I can tell you that my faith might possibly be restored. With what SEGA is doing, Sonic & SEGA All-Stars Racing Transformed might very well be that mythical cart racer everyone's been looking forward to.
Sonic & SEGA All-Stars Racing Transformed interview
At first glance, Transformed looks to be no different than all these other cart racers trying so hard to be the next great thing. However, after I sat down to play the game, something magical happened - I actually liked it. Transformed almost immediately reminded me of why I still consider Mario Kart 64 king of all cart racers and, while it's still too early to make that kind of assumption, it could surpass it when it releases this Christmas.
E3 2012 gameplay
Just like the previous game, expect a plethora of characters from all over the SEGA catalog, 27 to be exact. Sure, Sonic and his wide assortment of friends will be there but Gilius Thunderhead from Golden Axe, Vyse from Skies of Arcadia, Joe Musashi from Shinobi and even Danica Patrick will be playable. Yes, Danica Patrick is in the game and I'm glad the game's developer, Sumo Digital, is taking the exaggerated route by making her vehicle literally shoot fire from her tires. That's kind of awesome.
If you've never played a cart racer just know that it's an arcadey endeavor with tons of weapon pick-ups, boosts and colorful levels. Transformed does a great job with its environments and really captures that feeling of a world that's alive, even while you're blazing through to nab that first place trophy. What's unique about Transformed's tracks is that they're modeled after levels from some of SEGA's games. Expect to be knocking dudes around in a Golden Axe inspired stage as well as one from Panzer Dragoon. You might be wondering though, "How does a level from Panzer Dragoon work? Carts can't fly!" Oh, but you're so very wrong.
Think Sonic is also considered the fastest in the air?
One of the main features of Transformed is right there in the name - transforming. As you progress through the stages your cart will change, giving you a whole new perspective on the level you've been normally going through. It puts a whole new spin on the scenarios you encounter and can change the fortunes of a player almost immediately. For instance, I played as Vyse who has horrible turning if you can't drift correctly. But once I turned into a plane, that was all she wrote. I quickly fired back from third to first and maintained the lead to grab the victory.
I think gamers associate titles like this with kids and they aren't wrong. However, Transformed has skill based systems in place that definitely cater to adult players, allowing practically anyone or any skill level to pick up and play the title. For example, drifting and manually firing your weapons is an obvious skill choice, but if you time your moves correctly you can gain free boost by drifting and can even evade special attacks. Someone fired an RC car that tracks a target and I was its first choice. Since I was successful at drifting at the precise time, that RC car grabbed someone else and took them out, allowing me to easily pass them.
The tracks look fantastic and can kill you.
Flashy environments with hazards, special abilities, skill-based attributes, tons of characters to choose from, Transformed is looking rather great. I know it sounds insane to be saying this, but I really do believe that if the level of quality I played in that short amount of time carries over into the actual release of the product, SEGA will have done the impossible. They will have toppled the king of the cart racers in Mario Kart 64 and I surely want to be around when that happens.
Labels: Andrew Whipple III, E3 2012, PC, PS3, SEGA, Sonic and SEGA All-Stars Racing Transformed, Sumo Digital, Xbox 360
- Andrew Whipple III
As a child, Transformers were something I obsessed over. Whether it was getting up early to catch the cartoon or collecting all the Constructicons to assemble Devastator, I was all about them day after day. However, the Transformers franchise has gone in a very different direction since those golden days and I've never been a fan of that transition.
Cue High Moon's Cybertron series. Having reinvigorated my faith in the Transformer name with War for Cybertron, High Moon is busy at work on the impressive looking sequel. Believe me when I tell you that if you even had a shred of interest in the first game, Fall of Cybertron will undoubtedly excite you.
Fall of Cybertron interview
Without giving too much away, Fall of Cybertron depicts the battle the Autobots are fighting against the Decepticons, and it's a losing one. Expect the return of drop-in, drop-out co-operative play along with a heavy focus on competitive multiplayer action. Although there won't be dual-campaigns ala War for Cybertron, it looks like High Moon has decided to go with a lengthy, stronger narrative by condensing it into just one. Sure that might sound disappointing since you won't see two different branching story-arcs, but you'll still be able to play as the Decepticons or Autobots regardless.
If you're a G1 fan (like myself) expect to see more familiar faces along with the one and only space T-Rex, Grimlock of the Dinobots. Yes, yes, you'll be tearing machines apart with his unprecedented strength, but he's not the only star of the show. The combat looks extremely involving and polished with robots flinching and collapsing under heavy fire amongst gorgeous backgrounds of the ravaged Cybertron. The fighting is further accentuated by the animations for every Transformer, which are ridiculously fluid, making every kill you score feel meaningful with some actual weight behind it. Watch the metal fly if you don't believe me.
Multiplayer was a big focus for High Moon and they really wanted to get it right in Fall of Cybertron. Most of what fans loved about the first game's multiplayer will return, but the experience will be further augmented by customization. Unlike its predecessor, Fall for Cybertron will feature thousands of possible combinations to make your character as unique as possible. According to Greg Agius, when thrown into testing people would spend an hour tweaking their character before they even jumped into a game. If it's anything like Warhammer 40,000: Space Marine's customization, I think we all will have something to truly be excited about.
If everything we've talked about comes together in the full retail version, we'll all be experiencing something very special. Transformers: Fall of Cybertron hits store shelves August 28th and I couldn't be more excited.
Labels: Activision Blizzard, Andrew Whipple III, E3 2012, High Moon Studios, Interview, PC, PS3, Transformers: Fall of Cybertron, Xbox 360
- Andrew Whipple III
Twelve thousand years ago, after the War of Creation, the demigod general Asura assassinated his emperor in an attempt to take the throne. The seven remaining generals retaliated, killing Asura and then taking their place as the Seven Deities, to protect Earth and its people and cleanse the world of demons.
Or so the legends go. In reality, Asura was framed by the other generals, his wife killed, and his daughter kidnapped for her magical abilities. Now that he's escaped from the underworld, you can probably guess that he's a little bit pissed.
Asura's Wrath tells its story like a TV show; it's broken up into episodes, akin to games like Alan Wake and Alone in the Dark, which also take a similar approach in terms of their format. Asura takes it a few steps further, though. There's a heavy focus on presentation, trying to make the game as fun to watch as it is to play. Each episode has opening credits, a preview of the next episode and even commercial bumpers like in an animé. Episodes are even designed to clock in at around 20 minutes each, including their cutscenes.
There are two types of action sequence within the game. One is the typical third-person brawler, relatively simple but satisfying, with cool little touches like counter-attacks and finishing moves to use on stunned enemies. The second is on-rails shooting; again, simple, but entertaining. The remainder of the action is handled in quick-time events. QTEs are often maligned by critics, but Asura's Wrath is an example of doing them well; they're very frequent, so they never feel cheap, and the vast majority of them won't kill you if you fail, instead just costing you a chunk of health. The game really shines during its one-on-one boss fights, where your goal isn't to decrease the enemy's health but to fill Asura's 'burst' meter and trigger a cinematic special move, which usually boils down to punching your enemy really hard, sometimes with three arms at once. Don't get me wrong, it's really cool the first couple of times that you see it, but for a game that values presentation so much, it would have been good to see more variety.
Bosses steal the show, but normal enemies like this one can still pose a challenge
Still, though, the game could have been more interactive. I'm usually pretty open to games like this, such as Heavy Rain, where you the large majority is simply watching, but at least in Heavy Rain you were in charge of nearly every action your characters took; you're normally not in control of Asura until the punches start flying. There is an interesting exception, in an episode where you just relax and have a drink in a hot spring while reminiscing with another of the characters, and you fill your burst meter by taking shots instead of fighting. Then it's just back to having fistfights for the rest of the game. Not that that isn't fun, but from a story perspective, it started to feel padded with fights because the game couldn't do anything else. There are even a number of flashbacks to fights in Asura's past that are clearly just there for the sake of inserting some action into an episode.
Asura's story is pretty straightforward. Thousands of years after his betrayal, he emerges from the underworld to exact revenge against his former comrades. It certainly invites comparison to the God of War sequels, but the difference is that Asura is much more sympathetic compared to his Greek counterpart. The problem with Kratos was that he more or less got what was coming to him when the gods betrayed him. His reasons for fighting for were entirely selfish, and it became very difficult to root for him when his deicide started destroying the earth in God of War 3. In Asura's Wrath, however, the gods are actually extremely easy to dislike, killing as they do innocent mortals in order to use their souls as power against demons, so watching Asura punch new holes in their heads is much more satisfying.
Having sound in space is the least impossible thing to happen in this game
That isn't to say that the conflict is black-and-white, though. The writing does a fairly good job of making Asura a little more flawed as a character, and the deities perhaps more misguided than evil. Some of them take a little too much pleasure from killing innocent people, but they each have their own motivation, and the writing maintains that (though brutal) it may be a necessary evil to stop the demons once and for all.
Asura's Wrath has a one-of-a-kind aesthetic, beautifully blending together eastern mythology and sci-fi. Considering the game is at least half cutscenes and QTEs, it's a good thing that they all look extremely pretty, boasting terrific cinematography and animation. The action scenes are like something an eight-year-old would come up with when high on sugar and having just finished a Dragonball Z marathon (one of the highest compliments I can give an action game). It throws physics and reason to the wind and just lets awesome things happen. Enemies the size of a planet? Check. Flying motorcycles? Check. Characters and spaceships that are designed simply to look cool? Oh goodness me, yes.
"Poooooooooooooooooooke!"
As for the music, you might think that such an over-the-top action game would be fuelled by cheesy rock songs, but the game takes a classier route with a more orchestral feel. There is a guitar-twanging track or two that wouldn't sound out of place in God Hand, but some of the fight background music is downright serene, and it works surprisingly well. It's a very good soundtrack with top-notch voice-acting to match, featuring big-name voice actors like Liam O'Brien and Steve Blum.
Great presentation, solid action, and a pretty decent story given the genre. Why am I not telling you to go and buy this right now? Well, the ending is sold separately, that's why. The last four episodes of Asura's Wrath were just released a few weeks ago as DLC. For $8. And this wasn't like ME3, where they 'botched' the ending and decided to change it for the fans. The game has a 'true ending' which isn't an ending at all, but instead just throws in a plot twist from way out of left field - "remember that enigmatic but fairly insignificant character from the first part? Yup. He's evil. And behind the whole thing". The obvious question is: "why didn't they just throw in another ten-minute boss fight?" But I'd like to ask: "why wasn't the whole game sold in chunks like that?"
Episodic content is a good business model that triple-A developers should be trying more. Consumers don't have to make that massive $60 investment in a whole game, and developers can get feedback and try to improve the game as they make it. The game is already split into three parts, the DLC being the fourth. Capcom easily could have sold each part for $10-15 each. Plus, if it were downloadable, they wouldn't have to worry about losing sales to the used market. Instead, however, publishers choose to make online passes look like outstanding customer service.
I can't support that kind of consumer milking - and, believe me, I have a high endurance for getting milked - so I can't really recommend buying Asura's Wrath, but I do believe in giving the devil his due: it's an interesting experiment in blending together TV-esque storytelling and gaming that, for the most, part works very well. In terms of gameplay, it's simple, but provides a satisfying challenge and it puts on a hell of a show while it's at it. It's worth a rental if the idea of an interactive animé piques your interest, and as for the ending: eh, you can always YouTube it.
7/10 [?]
Labels: Asura's Wrath, Capcom, Peter Kratz, PS3, Review, Xbox 360
- Anonymous
Last December, Destructoid’s Jim Sterling broke the story that Kingdoms of Amalur: Reckoning would feature a seven-part quest line, hidden behind an online pass.
Sterling called the practice "slimy and unjustified" on his personal Twitter account, and the topic quickly became a hot-button subject amongst savvy internet-dwellers wishing to offer their tuppenceworth on EA's new favourite money-making strategy. Part of the anger stemmed from the fact that Kingdoms of Amalur’s online code was restricting access to single-player content already on the disc, instead of online content, like previous games with EA Online Passes.
This is not the first time this year that a kerfuffle has been raised over single-player content restrictions. Last September, Warner Bros. Interactive and Rocksteady Studios came under fire when they sealed off several playable sections of Batman: Arkham City featuring Catwoman behind an unlock code. The move came under fire from users who felt they were being cheated out of the full experience, especially from the perspective of gamers who may not have an internet connection for their console, or anyone who might try to buy the game used.
Unfortunately, online passes are likely here to stay, especially seeing as publishers are trying their utmost to head off used-game sales. What started as a justification to recover operating costs for online servers has turned into yet another way for EA to coax a little more money out of its customers. And, beyond EA and Warner, THQ has also used online passes for Homefront and both of its UFC games, whilst Activision has as yet chosen not to follow the online pass route.
A hefty amount of digital ink has already been spilled on the subject of online passes, forming everything from reasonable discourse to righteous indignation. Some see online passes as a regrettable but understandable business decision, a reasonable push-back against used-game sales. Others feel they punish a significant part of their consumer base, and provide gamers with a worse experience; after all, typing in a new code every time one buys a new game gets very old, very quickly.
On a side note, I’m not certain that used-game sales cut into profits quite so much as publishers say they are, but I bet the fact that one of the world’s largest game retailers depends so heavily on used games sales doesn’t help.
I used to be reasonably tolerant of online passes; as a gamer who tries to purchase new games and support developers, rather than retailers, it didn’t affect me too heavily. Most of the games using online passes were sports games: the likes of Madden and FIFA, games I wouldn’t usually play but would likely purchase new if I did - new rosters, after all. However, online pass implementation has become much more ubiquitous - and, one could argue, much more stupid - in recent months. Entering each new code becomes more tedious every time, and the content hidden behind these codes has grown from bonus, thank-you-for-playing content to important, central portions of the game as a whole.
Perhaps my worst experience with online passes came when I rented Battlefield 3, for what was supposed to be a review. I ploughed through the campaign in one five-hour session (my preferred method for tight, focussed FPS campaigns), and after watching the credits roll, I sat down for a few rounds of multiplayer, excited to spend more time with one of my favourite online series in recent years. Instead, I was greeted with a screen that told me I needed to buy a brand new copy of the game in order to try the multiplayer at all.
I was shocked. Not only was the game depriving me access to arguably the reason to purchase Battlefield 3, but it wouldn’t even let me try it out and decide if it was right for me. Rather than spend an extra ten dollars on top of the eight dollar rental, I returned the game, frustrated and unsatisfied - at least online sports games like Madden allowed a seven-day free trial for online modes. And the sad thing is, I decided not to purchase Battlefield 3 in the end, because I wasn’t sure whether I’d enjoy the multiplayer; without an adequate chance to sample it, the purchase became too great a risk, and caused me not to follow through.
On the other hand, I can understand why publishers use online passes, despite how much they're inarguably awful. 38 Games' Curt Schilling recently talked about why they chose to implement their 'day-one DLC', saying that, as a new series in a crowded market, they wanted to stand out and provide extra content to gamers who would buy it new; after all, if they don’t sell enough copies, the studio may not be around long enough to deliver a sophomore effort.
To me, it really comes down to expectation. Amalur is an absolutely massive game, and as sucky as it is to miss out on a seven-quest cycle, there’s still a huge amount of content already available for playing. In terms of Batman: Arkham City and its infamous gated content, I rented the game shortly after it came out, and during the time I played it, not once did I feel ripped-off for not being allowed to experience Catwoman’s sections. Batman’s main storyline was so fun and well-paced, I never felt like anything was missing from the experience, making Catwoman’s sections truly feel like 'bonus' content.
Perception is also a big part of this discussion. There are those who feel that, because both Catwoman and the seven-part quest are on the disc, they should be available right out of the box, lest the experience be otherwise 'incomplete'. Yet, for some reason, removing the content from the disc and forcing players to download it through Xbox Live or PSN seems to make it okay. Perhaps we’re all hardwired to expect a more 'transactional' feel when purchasing digital items, and the physical distance the data travels and the time needed to acquire it perhaps make the content more worth the money than if it were simply unlocked from the disc. For me, if the experience feels complete (like in the case of Batman), anything extra is worth the extra money.
A similar situation happened last year with Gears of War 3, when Epic revealed that their game had a good amount of on-the-disc DLC. Their justification? They had already drawn up and followed a projected budget for the main content (single-player campaign, multiplayer, co-op, etc.), and the DLC followed a separate budget, making both sets of content two different sets of costs. The $60 purchase covered the main game’s budget, while the on-the-disc purchases would cover the cost to design, develop and test the DLC.
Also - and this makes me part of the problem - I would much rather have buy-new incentives that are actually worth ponying up the money for. Remember the Cerberus Network, EA’s free-DLC service from Mass Effect 2? Remember how awesome your new equipment was, and how engaging your new party felt? Of course not; they were all terrible. If I’m resigned to expect extra content from buying a game brand new, that content had better be worth the money I spent over buying it used. There’s a thin line between withholding content that’s worthwhile and keeping players from experiencing the game to the fullest, but the latter feels so much more satisfying than discovering your 'bonus content' was an extra pea-shooter and two differently-coloured T-shirts.
I’m not trying to be an online pass apologist; they add new layers of difficulty to customer experiences, and they could easily lead to a slippery slope of paying for even greater and greater chunks of content. Still, I know there’s a middle-ground that can be attained, in rewarding players who buy new without penalising those who buy games used, and hopefully developers can find that happy medium in the future. In the meantime, let’s get back to complaining about something that is really irritating. Like pre-order DLC.
Labels: 38 Studios, Andrew Testerman, Batman: Arkham City, EA, Kingdoms of Amalur: Reckoning, Online Passes, Opinion, PlayStation 3, PSN, Warner Bros., Xbox 360, Xbox LIVE
- Andrew Testerman
After numerous delays, Max Payne 3 is almost here.
During the course of development, Rockstar Vancouver's latest third-person action game saw many hardships, the likes of which would even make their eponymous detective pause. But Max is finally ready to shoot and dodge his way back into the limelight. Rockstar allowed us to get a glimpse of the game behind closed doors at PAX East, and what I saw gave me hope for the return of Max Payne.
We were shown two levels, each from different sections of the game. The first was set in a grimy Manhattan bar under attack by gang members, with Max having to fight his way through shot-up pool halls and walk-in freezers. The second took place in São Paulo, Brazil, and saw Max surviving an ambush at a baseball stadium, aided by an ally behind a sniper rifle.
What separates Max Payne 3 from the myriad other shooters is its stylish use of bullet time. The player can slow the action down by clicking the analogue stick, or by performing slow motion 'shoot dodges', John Woo-esque leaps of fancy that add mobility to firefights. Bullet time uses adrenalin, which Max gains by executing headshots or taking damage. Combined with solid shooting mechanics, Max Payne 3's use of bullet time turns every gun battle into a pageant of blood and bullets.
Max has lost none of his abilities for acrobatic gunplay, and part of Max Payne 3's challenge is to find the best moments to use bullet time.
Rockstar Vancouver has also made several canny additions to the Max Payne formula. New to the series is a cover system, allowing Max to hunker down behind obstacles to avoid enemy fire. Also new is an optional aim-assist, similar to those found in many current shooters, helping players to zero in on enemies for adrenalin-gaining headshots.
One of Max Payne 3's biggest departures from modern shooting conventions, though, is its lack of a health-regeneration system. Instead, players must find and use painkillers to regain Max's lost stamina. Painkillers also lend themselves to another new mechanic: when mortally wounded by an enemy, players can take out the enemy who dealt them the killing blow and gain their life back, in exchange for a painkiller.
Good thing, too, because Max Payne 3 is challenging even at medium difficulty. Max was constantly outnumbered during both levels I played - particularly in the baseball stadium, which takes place later in the game - and playing without regenerating health adds a dangerous rhythm to gameplay different from other contemporary shooters. Every gunfight is tense and deadly, and feels great. As a quick aside, I would recommend playing with the auto-aim turned off; with it on, I found my aiming reticule targeting enemies in ways I didn't necessarily expect. The auto-aim doesn't necessarily drag the game down, but it's far from the optimal way to play Max Payne 3, a game in which the satisfaction of manually lining up headshots, mid-jump, feels incredibly satisfying.
Though much of the game takes place in São Paulo, players also control Max during his earlier life in New York.
Like other current Rockstar games, Max Payne 3 is built upon the Rage engine, used in games like Grand Theft Auto IV and Red Dead Redemption. Max's movements are initially a bit wide and hefty, but I assimilated after a few minutes of play. Rockstar has always trotted out stellar voice acting in its games, and Max Payne 3 continues the trend. During gameplay, Max's internal monologue helps to establish the setting and tone of what's happening, and other characters toss out their lines with natural-sounding aplomb, a welcome change from other poorly-voiced games on the market. The series' signature comic-book cinematics are MIA, but they are given a nod in Max Payne 3's in-game cutscenes, which possess small stylistic changes and use split-screen in a way that suggests comic book panels, though they did remind me of the commercials for Grant Theft Auto: Vice City.
Max has been in deep cover for a long time, but the wait appears to have been worth it. Max Payne 3 looks to join Rockstar's increasingly-long list of epic May releases in just a few short weeks, hitting Xbox 360, PlayStation 3 and PC.
Labels: Andrew Testerman, Max Payne 3, PAX East, PlayStation 3, Rockstar, Rockstar Vancouver, Xbox 360
- Andrew Testerman
Now here's a kid whose whole world got all twisted, leaving him stranded on a rock in the sky. He gets up. Sets off for the Bastion. Where everyone agreed to go in case of trouble.
Earlier this week, I finally finished Bastion, indie-developer Supergiant Games' much-loved action-RPG for Xbox Live Arcade and PC. Bastion's minimalistic storytelling, Diablo-style look and upgrade system, and fun, varied action mechanics made it a great hit with me, but one element of Bastion stands above the others: how alone and isolated an experience it is.
More than any game I've ever experienced, Bastion conveyed a sense of loneliness that ran through the whole mood of the game, and took an above-average, fun action-RPG game and turned it into one of my standout titles of 2011. The game uses several tricks to accomplish its bleak, deserted atmosphere, and each is worthy of consideration from other developers.
The Wild Unknown. Place can eat a man alive. Place is so raw, even the Calamity couldn't cook it. Not all of it.
Throughout Bastion, the game's protagonist, The Kid, is all alone, accompanied only by his wits and his weapons. I've experienced games that present you with a pressing sense of loneliness, having played through my fair share of Metroid games, and Bastion's sense of isolation is up there with the best of them. Its colourful art style and stylised monster designs give the game an other-worldly feel, and the atypical visuals add to the sensation that The Kid isn't in Kansas anymore.
Whilst exploring, The Kid traverses through the ruins of Caelondia and Ura, two nations that were at war before they were destroyed by a cataclysmic disaster known as The Calamity. Little titbits of Caelondian culture are scattered throughout the journey, and slowly you will discover how certain areas functioned before The Calamity struck, or learn about the various religious practices performed by the people before everyone was wiped out. The effect is similar to the opening scene in the film 28 Days Later, when the protagonist wanders through the deserted streets of London trying to figure out what happened. The details about the world you find yourself traversing, coupled with the lack of inhabitants, help drive home how alone The Kid really is.
There the kid hears something he ain't heard in a long while.
How's it go again....?
Yeah.... that's the one.
Perhaps my favourite element that Bastion uses to convey loneliness is its music. The soundtrack blends electronic and hip-hop elements with acoustic and electric guitar, with a composition that aims for an Old West, Frontier-esque feel, and leaves you with the impression that The Kid is wandering through a feral world, surviving by his own wiles, much like the classic Western heroes of old. In a way, he is.
Yet, even more than conveying an impression of the untamed West, the music hints at a sense of emptiness and an absence of hope. Many of Bastion's songs have a bluesy structure to them, or are sparse in their instrumentation, conveying a sense of sadness and emptiness, and making you, the player, feel as if you're the only one you can trust amidst the desolation.
Now the Kid sees something stranger still. His mind races. Did anybody else survive? Sure enough, he finds another. He finds me.
Nearly as enjoyable as the music is Rucks, the narrator. As The Kid slashes, shoots, and scrapes his way through the ruins of Caelondia, Rucks provides a running, second-hand commentary on the action. Rucks' sparse, fragmented speaking-pattern describes The Kid's actions at arm's length, always talking of the action in an active voice, but never becoming more involved than a basic description. Rucks talks about The Kid as though he weren't even there, turning a potential spot for camaraderie into another distancing element. Listening to Rucks calmly describe the monsters and their motivation amidst heated combat creates a chilly sense of separation.
It is this distancing element that provides the game with its most striking moment. Whilst exploring one area, around three to four hours into his journey, The Kid hears a sole acoustic guitar and a haunting, carrying voice. It's the only other voice heard in the game, and it belongs to Zia, a woman born of foreign soil whose only companion is her music. The sound of another voice, especially after so much time listening to only one person speak, is striking, and creates a near-instance feeling of kinship towards Zia, similar to how The Kid must feel to see another survivor of The Calamity.
Don't you worry, though. Once the Bastion is restored, everything'll be alright.
Bastion is one of the most remarkable games of 2011, full of unique story-telling, compelling action-RPG mechanics and a soundtrack that needs to be heard to be believed. However, my favourite - and possibly the best - aspect of the game is how isolated it made me feel, and how well it cast me as a lone adventurer. Many games have set me up me as the world's sole saviour before, but only Bastion makes me feel how 'sole' I really am.
Labels: Andrew Testerman, Bastion, Feature, Steam, Supergiant Games, Xbox 360
- Andrew Testerman
Prototype 2
Developer
Radical EntertainmentPublisher
ActivisionPlatforms
Xbox 360, PlayStation 3, PCReviewed on
Xbox 360Genre
ActionCertificate
PEGI 18+, ESRB MIt successfully made you feel the part of the anti-hero badass with your ample supply of treacherous mutations, but it progressively fell short in both the narrative and gameplay departments. Prototype 2 disposes of these issues and goes far beyond what Radical Entertainment gave us with the original game, almost three years ago.
Prototype 2 follows the story of a soldier named James Heller. Having lost his wife and child to the Blacklight virus outbreak in New York City, Heller is determined to find the source of the outbreak, protagonist of the first game Alex Mercer, and enact vengeance upon him. However, Mercer purposely infects Heller with the virus in order to win him over against Gentek and Blackwatch, the real organizations that caused the outbreak. Conflicted and troubled by this new truth, Heller must uncover the mysteries of the Blacklight virus and with it, Mercer's true goals.
Just back away, man. You don't even know.
I'll be the first one to tell you how disappointed I was with the first Prototype's narrative. Ostensibly, Prototype is just a feel-good, care-free action game, but beneath it was an interesting concept with a story revolving around a character that never evolved beyond his insatiable thirst for retribution. Needless to say, it got old pretty quickly. Heller also partakes in this vengeful spirit, but the difference between him and Mercer is that his character actually grows.
Going from a standard soldier's life to one wreathed in chaos and despair, Heller is constantly transitioning from kind-spirited father to merciless killing machine and you witness it firsthand. Besides some cheesy one-liners and overused cursing, Heller's conversations and choices are interesting ones. While it's an overly serious game, on more than one occasion I laughed due to Heller's comments about his surroundings. For instance, the beginning of the game has you consume a commander who provokes you with the irritatingly overused term, 'bro'. Slamming the guy into the ground and crushing his head with the most brutal curb-stomp in gaming makes the moment feel perfect. No, Prototype 2 doesn't have the most incredible and engrossing story (it'll take you about 12 hours), but it's a hell of a lot better than what we were served with previously and that should be respected.
Melee combat is the core of what makes Prototype distinguishable from the rest of the open-world action games and the sequel doesn't disappoint. You can choose from five different weapon mutations such as the iconic claws or blade arm and everything is upgradeable. One of the new powers, called tendrils, strings your opponents up with random tentacles which latch onto the surrounding environment. It's extremely satisfying to be pummeling an opponent and at the very same time watch as your tendrils spring out, tethering the target to objects in close proximity.
Regardless of this outcome, both these dudes are bad guys. I call it a win-win.
This time around, instead of having to switch to each weapon mutation individually, Heller can map one power to two face buttons. For instance, you can set your claws as X or square and your tendrils to Y or triangle. This makes stringing together combos easy and makes the combat more diverse, effective and far more interesting. The Targeting can be a bit wonky at times, but the system in place uses smart-locking mechanics you've seen in its predecessor. It isn't Arkham Asylum or City, but I never had trouble dealing with multiple enemies due to misplaced targeting.
Each weapon also has a unique strong attack as well as multiple unique executions. The tendrils, for instance, swarm a single target, expand outwards, grabbing anything and everything in a 360 degree radius and then pull them towards the helpless victim. Oh, and if you've never played a Prototype game, know that civilians are your proverbial health potions. They litter the streets, screaming and running but once caught and executed in style, you'll understand why it's quite literally the greatest way to heal - ever.
Since we're on the topic of great things, I must say that Prototype 2 contains the best free-form exploratory transportation I've played in games. Exactly like the first, simply depressing a single button allows you to rip through the streets with lightning speed, scale immensely tall buildings and even soar through the skies. It's an absolute blast to run around the city and it's augmented further by a newly implemented collectible system.
Running and flying around the city are some of the best parts of Prototype 2.
Instead of dealing with the mindless destruction of water towers, infected buildings and slowly unlocking the memories of others (Web of Intrigue), Prototype 2 makes collecting items and completing side-missions fun again. Firstly, Evolution Points (EP) are now specifically designed to evolve or level Heller up instead of being used as a currency. When Heller levels he'll be able to choose from a variety of upgrades that significantly boost his innate abilities. BlackBoxes, operation dossiers, field ops teams and lairs all serve as side-missions or collectibles that not only gain Heller a significant amount of EP, but also gain him special mutation trees that can be filled out. These range from defensive abilities like being immune to small arms damage to locomotive abilities like gaining an additional air-dash.
Why these side-missions are so special is because they're actually fun and rewarding to complete. My personal favourite change is actually locating the dossiers and upgrades. In the first Prototype, you'd run around and find people with a specific icon hovering over them that would indicate the harboring of a specific memory. That was about it. Prototype 2 works much in the same way, but finding people or creatures with these icons and consuming them will grant you a permanent upgrade to your powers or unlock a new set of missions. Something else that should be mentioned is how every single side-mission and collectible that has yet to be discovered is viewable on your main map. The exact location isn't disclosed, but if you follow the pulse it's always right on.
It ain't easy, killin' tanks with their own parts.
Great as the side-missions are, they aren't perfect. There are locations that look like copies of one another, like entering a lair, and most of the time it ends in a simple, 'kill everyone' requirement. However, the rewards are so great for finding and clearing a set of lairs or massacring a field ops team that you'll hardly mind the ceaseless killing. Besides, isn't that what you signed up for in the first place?
Going with the theme here, Prototype 2 is an evolution of the original game's formula. While it borrows quite a bit for obvious reasons, everything it does is substantially better. Prototype 2 is a pleasant surprise that follows the guidelines of what to do in a sequel perfectly. Radical obviously took the time to amend their mistakes and it shows their effort in pure quality. If you even remotely enjoy free-form action titles, you owe it to yourself to give this game a true shot.
9/10 [?]
Labels: Activision Blizzard, Andrew Whipple III, PC, Prototype 2, PS3, Radical Entertainment, Review, Xbox 360
- Andrew Whipple III
Subscribe to our content
and never miss a single thing
subscribe to our monthly newsletter:
Our most recent writing
Our most recent reviews
Recent comments
All comments are subject to our commenting policy
Latest videos
Subscribe on YouTube
GGTL Classics
Some of the very best articles dug out from deep in the GGTL archives, written by some of our past and present wordsmiths alike.
Your continued use of this website and/or any others owned by Gamer's Guide to Life.com represents your acceptance and indicates your full understanding of all of our legal policies and terms. Our legal policies and terms are legally binding. If you in any way disagree with or refuse to be bound by any part of said legal policies and terms, you are advised to leave this website immediately.