Discovering The Unfinished Swan

In recent news, there’s been significant talk of video game violence and its role in violence we see in real life, causing many to wonder “How can we mature beyond violence?” Shooting at opposition is a readily available way of creating a goal for players, and not only does it cause misconceptions of games as a whole, but it creates a mundane environment we don’t always notice until we experience something else, which makes indie gems like The Unfinished Swan so entrancing.

Platform: PS3
Players: 1
Genre: Puzzle/Platformer
ESRB: Everyene (Fantasy Violence)

Unfinished Swan 1

Source: http://chalgyrsgameroom.blogspot.com/2013/05/the-unfinished-swan-psn-review.html

If you can’t embrace being a small child for a couple hours, this likely isn’t the title for you. The Unfinished Swan tells several stories. The overarching narrative is about a boy named Monroe who’s mother recently died. She left behind numerous paintings, most of which were never finished. Monroe is allowed to select one to keep, and he wakes up one night to find that the swan in the painting he chose has disappeared.

Monroe jumps in the painting and discovers a world belonging to a king that is largely white, without shadows or discernible objects at first. The king’s story develops to explain various developments in the world as you proceed, but overall gameplay has the player tossing balls of paint around the world to reveal paths and objects – simple as that. There are no enemies – only discovery and exploration. The game looks gorgeous as the world blooms before you in more ways than one. A light puzzle and platforming game, it’s not particularly difficult and shouldn’t take more than a couple hours.

But it’s a refreshing couple of hours. The story plays out like a bedtime storybook, though ending a bit darkly, defining it as more than a game for small children. I think this was intended to be more of a “make you think” moment than it came off as, and felt like more of an “A-ha” twist.

The mechanics evolve swiftly as you progress, keeping things interesting over the entire game. In combination with being constrained to the last moments of the game, this dilutes some of the ideas purported in the end of the game. Multiple playthroughs should be attempted to get the most out of both of these facets of the game.

74702.jpgTo make a bit more of a game out of it, players can collect balloons across every level, which can be redeemed for various upgrades, like a balloon tracker, sniper paint shot or fire hose paint  shot, all of which will prove useful in tracking down the rest.

The Unfinished Swan is a joy to play, though perhaps does a bit too much in too little time.

Borderlands 2 is a good plan, great plan!

The first Borderlands was not gray in what it did well and what it did not. Lots of guns, riotous skill trees and a stupendous local multiplayer made the game a standout in the industry, but billboards of text and an underwhelming story made it empty. This made it clear to Gearbox where the series needed to go with Borderlands 2.

Platform: Xbox/PS3*/PC/Mac
Genre: FPS/RPG
Players: 1-2 (Online: 1-4)
ESRB: Mature (Blood and Gore, Intense Violence, Language, Sexual Themes, Use of Alcohol)

Borderlands 2 kicks off with four new classes and the return of one of the few memorable characters of Borderlands 1, Claptrap. Claptrap has much more dialog this time around, disappointing no one. You’ll also find an ECHO in your inventory, granting you the first piece of your character’s backstory, implying Gearbox is off on the right foot.

From here, hilarity and good times ensue. The player will remember most every character encountered, from the return of Scooter to the short-lived McShooty. The four heroes from the first game make a return as well and play some catch up in being established as more than gun-toting skins – something that actually works quite well.

Tiny Tina is a blast!

Tiny Tina is a blast!

Quests often run together to tell stories and are usually granted by a notable NPC rather than a billboard, accompanied by dialog that helps to alleviate some of the overzealous quest descriptions that plagued the first installment. However, this dialog is easy to lose among hailstorms of bullets should they trigger during battle, so it’s well-advised to play with the audio setting to make sure you don’t miss any of this goodness.

That being said, some trimming could have been done. Some quests will have you travelling great distances just to turn them in or touch base with someone, which really slows down the pacing. The game makes no effort to encourage you to experience the story, never holding the player up with cutscenes. This leaves flexibility for FPS junkies looking to shoot psychos and players looking to appreciate the work that went into the knee-slapper script.

Back in the fray, Borderlands 2 is just as fun as ever. Each class’s skill tree offer a wide variety of options supplemented by relics and class mods. A strong supply of weaponry will keep you from getting attached to any one gun for very long, and really eliminates the value of shops altogether – why spend the money when you’ll find something better in the pockets of the next Goliath?

The game is scaled very well, keeping it from feeling monotonous. Borderlands 1 could get to a point where the challenge was gone if you completed enough side quests, and towards the end could become a tedious walk through futile enemy onslaughts. Borderlands 2, however, will punish players if they skip some side quests. Replays with incremented enemies keep this going and are especially important if you’re going to check out the DLC. Should you attempt the DLC after completing the main quest line without kicking off True Vault Hunter mode, enemies will be severely underwhelming and the whole experience will feel like wasted time.

borderlands2-11From a technical standpoint, Borderlands 2 is an interesting hodge-podge. Textures can be slow to load when entering areas, and in high-octane gunfights, the frames-per-second will lag hard, not to mention a skip any time your co-op partner brings up their inventory, but give it enough time in a low-action area, and the FPS will jump up to noticeably higher rates than most console games. Auto-saves will often kick off just as you’re attempting to leave an area, leading to absent-minded duels waiting for the vault symbol to quit flashing across the screen.

The quests aren’t without flaws either. Claptrap may get stuck, forcing a reload, and enemies may be slow to spawn, if at all. In the Campaign of Carnage DLC, my friend and I actually got fed up trying to beat the number 3-ranked gladiator (she was the only enemy in the area, eliminating any hope of second winds) and left to turn another quest in to Moxxi, who immediately accepted the quest we had just abandoned as complete. Bummer.

Then, of course, there’s the controversy of the newest DLC class not included in the season pass. While unrelated to the quality of the game, I mention it here because it doesn’t warrant its own post. This is the first time we, as consumers, have seen weighty DLC omitted from a season pass, and should inspire some serious discretion in consumers picking up such things in the future.

While not overcoming all of the shortcomings we saw in the first Borderlands, Borderlands 2 is a much more rounded experience while maximizing what it did so well the first time around. Not only that, but it fills the local co-op hole in the market and is replayable enough that we begin to forget there aren’t other options.

Bioshock Infinite: Breaking the circle

Platform: PS3/360/PC
Genre: First-person shooter
Players: 1
ESRB: Mature (Blood and Gore, Intense Violence, Language, Mild Sexual Themes, Use of Alcohol and Tobacco)

Video games have constants. Common themes and elements that happen, generally, every time, some more than others. For this reason, it’s easy to get stuck in a rut as you play through a backlog – shuffling from one to the next without much thought. Bioshock Infinite manages to manifest these constants while rising above them at the same time.

BIDeWittThe game tells the story of Booker DeWitt, a former Pinkerton agent also present at the Wounded Knee massacre who has incurred large amounts of debt, and must now pay them off by rescuing a girl named Elizabeth from the floating city of Columbia.

“Bring us the girl and wipe away the debt”

It embraces historical tropes of fiction and those of video games. The flawed hero, Booker, struggles with his checkered past, and Elizabeth is poised to play the damsel in distress in need of a big strong man to save her.

But from here, things unravel. Infinite becomes a commentary on these tropes and mirrors Columbia both in exceptionalism and rising above them.

Elizabeth is in no way constrained to the damsel in distress role. Players who feared one long escort mission may find themselves on the other side of that coin, as Elizabeth revives the player and tosses Booker supplies in the midst of firefights. Her incredible power to open tears in space and time force the question -

“Booker, are you afraid of God?”
“No, but I am afraid of you.”

elizabethIrrational has done a wondrous job of creating the most compelling character ever imagined in a game. Elizabeth’s wide eyes are a stark contrast to the enemies rushing at you, reminding us of her depth of character. That intensity can’t be captured by cosplayers – it can only be conveyed properly in this Bioshock art style. Her relationship with Booker is complicated, taking many turns over the course of the game as she copes with your violence, much like our parents cope with the violence in our video games – just one example of the game’s commentary on games. To say much more would involve discussion of the ending, a can of worms that not only goes beyond the scope of this review, but feels sacred enough to keep out of reach of those who didn’t experience it first-hand forever.

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Sacred. Playing the original Bioshock, many people were stunned by Rapture’s presence as a character. It’s hard to believe one could create a surpassing environment, yet Columbia captures that same magic. Before Booker has a gun in his hands, Columbia presents itself in the middle of its glory days, every nook begging exploration. The hymn “Will the Circle be Unbroken” permeates the entire experience and becomes impossible to shake. It complements the gold-plated and sunbathed city. However, we peel back the layers of Columbia and get a taste of the exceptionalism, the disturbing merging of patriotism and religion, the racism and the class warfare, and the hymn takes on a new role as a strange and haunting juxtaposition.

The game does a stupendous job of drawing your attention to the right corners of Columbia, and all of those corners are important at the end of it all. From a barbershop quartet rendition of “God Only Knows”, a 1966 tune from the Beach Boys somehow finding its way into 1912 Columbia, to seemingly meaningless lines from passerby have an entirely different context upon completion. The sheer number of similar instances simply on recollection are staggering and beg a second playthrough to capture them all.

Daisyimg

“Which side are you on?

However, a second playthrough won’t be required to illuminate some of the themes, the interpretation of which are left up to the player. In the original Bioshock, Rapture painted a picture of individualism gone wrong – Ayn Rand having her cake and choking on it. The game questioned player choice, but had an obvious agenda when it came to its objectivist critique. Infinite overcomes this with Elizabeth’s tears in space and time. The player gets to experience several realities with various incarnations of the Vox Populi, the working, minority class of Columbia. These multiple explorations of an “Occupy Wall Street”-esque sequence of events suck any “liberal agenda” out of the game.

Behind this ironclad wall of narrative and thematic elements, we’re reminded that Infinite is still a game, if only for the sake of advancing those elements. This manifests itself in the form of what is, astoundingly, a very tight first-person shooter. It would be easy to expect sacrificed gameplay in exchange for everything else Infinite offers, but such expectations would be folly.

bioshock-infinite-coins

Heads or tails?

Reminiscent of the first Bioshock, Booker is equipped with vigors – essentially super-powers – and guns. There are many of each, and instead of feeling overwhelmed by options, the player is encouraged and rewarded, especially in the 1999 mode tailored to those with a glutton for punishment, for paring down their specialties and focusing on a style of play. Juxtaposed against the game’s commentary on the medium, we wonder when player choice is really most important?

These are supplemented by the Skyline mechanic, allowing the player to fly across various islands of the city via rail and shooting down enemies from a distance before swooping in at breakneck speeds to twist the neck of their comrades. I found this part to play extremely well in some areas as a way to buy time, but to actually engage in combat from the lines can be difficult. You’ll move quickly, and targeting enemies from these distances can be daunting, especially without explosive weapons forgiving a bit of error.

bioshock_infinite_3Pair the offense with a memorable defense. Outside the rabble of police and Vox Populi flying at the character, the game is peppered with enemies that are not simply in Columbia, but are part of it. The Handyman is emblematic of the industrial age Columbia finds itself in and garners sympathy via both voxophones, audio logs scattered about Columbia, and dialog. Motorized Patriots echo the religious worship of Washington, Jefferson and Franklin, expanded by spouting claims of their ability to judge actions as a deity might. The only hiccup may be the Boys of Silence, who lack a backstory. Hopefully we’ll see some expansion in DLC.

Infinite garners every ounce of hype it has received and praise pouring in. We’ve seen many games professed as advancing the medium, but very few of them take advantage of the medium like Infinite does here as opposed to trying to emulate others. Infinite embraces the shortcomings of games, and then turns them into an incredible narrative tool that will be arguably impossible to imitate without being completely derivative. Infinite treads new ground while paying homage to the old. On a personal level, this game exemplifies everything I believe games can and should be to solidify their revolutionary position in story-telling and immersion. If you play one game in your life, let it be this one.

Agent 47 plays by his own rules

I’m not usually one to replay a game much. Online multiplayer is lost on me, and local multiplayer is only valuable insofar as my girlfriend or roommate is interested in the game (in my girlfriend’s case, rarely). The campaign of a game is often a narrative journey for me, and with the sheer number of adventures out there, it can be hard to replay a story just to read it again. But with Hitman: Absolution, the do-it-yourself campaign keeps drawing me back.

Platform: PS3*/Xbox 360/PC
Genre: Third-Person Shooter, Stealth
Players: 1
ESRB: Mature (Blood and Gore, Intense Violence, Partial Nudity, Sexual Themes, Strong Language, Use of Drugs)

hitman-absolution-EG2012-10 The story revolves around Agent 47’s own rogue operations, which make it very compelling. The game opens with 47 betraying the Agency, the covert group that bred him to be the ultimate assassin, by failing to complete a hit on his former handler, Diana Burnwood, and running off with the young girl she had kidnapped from the Agency. After a brief fetch/favor takes the momentum out of the story, the game recovers nicely on 47’s terms and rules. He’ll be pursuing his own targets for his own reasons to keep the young girl Victoria out of both enemy and Agency hands – alluding to the independence the game offers.

Each level usually culminates in one or more assassinations on your part, hence “hitman”. Agent 47 is no stranger to the game, and so a slew of options are available with every level. For your average patrolling enemy, a piano-wire strangulation may suffice, should you choose to kill him or her at all. However, main targets beg for a little more creativity. From gas-stove explosions to poisonous seafood to exploding disco balls, Absolution offers a plethora of options for fulfilling the hit. These various paths to success are supplemented by challenges and score bonuses for completing them. Rarely will an in-game challenge draw me back, but I found myself replaying levels over and over again to earn various styles and even complete them unseen or without disguises. Never have primary weapons felt so useless.

The voice acting and writing are also superb. Backwoods business magnate Blake Dexter is detestable in all the right ways, delivering the highlight of the experience. 47 is cold, sometimes in an almost humorous sort of way – a facet the game capitalizes on with outlandish disguises ranging from a chicken costume to a tin-foil-hatted conspiracy theorist.

The Glacier 2 engine looks beautiful, even running on the PS3’s cell processor, which is at this point not only unwieldy for programmers but also quite outdated by tech standards. The facial capture is acute and particularly eye-catching. I can’t wait to see what this puppy will do with the next generation.

Where does Hitman fall short? The game seems overly-sexualized at times, something the maturing medium is working on. Male antagonists seem to dig near-bare-breasted BDSM to an overzealous extent. However, this certainly lends a hand to creating a level of detest for them and perhaps is trying to lift the veil on an underground skeez culture we aren’t aware of, so I’m not ready to criticize it as an artistic decision in all instances. I recognize its value as a character development device, but it certainly warrants the game’s M rating, one that should be considered heavy-handedly.

Artistry cannot save the entirety of the game, however. The scantily clad Saints sent to eliminate 47 have no explanation for their skin-tight habits. Victoria and even Burnwood, in her small role, are both strong and admirable, but other female characters are largely relegated to secretary-like roles with stereotypical features to match.

hitman-absolution-attack-of-the-saints-trailer-wheel-of-games

The Saints have no background and are the tamest of the game’s sexuality.

These debatable missteps do little to draw from what is otherwise a fantastic game for both the Hitman faithful and newcomers to the franchise.

A note: I’ve decided to forgo the use of scores from this point onward. I, personally, appreciate scores in a review and understand why the scale works the way it does, but in the end, it doesn’t change the content of the review itself and if anything, draws people from actually consuming the text.

Tomb Raider: Legend – Flat despite curves

On the heels of the newest Tomb Raider, I finished my first title in the franchise with Tomb Raider: Legend. Crystal Dynamics’ first outing with Lara laid the groundwork for where we are today as they made the old girl new again. Despite this, for as curvy as she notoriously is, Croft is pretty flat this time around.

Platform: Xbox 360/Xbox/PS3*/PS2/PSP/PC/GBA/DS/Gamecube
Genre: Action/Adventure
Players: 1
ESRB: Teen (Blood, Language, Suggestive Themes, Violence)

Tomb-Raider-Legend-wallpaper

Legend starts a new storyline for Lara Croft, separate from previous titles. Lara must put together a powerful artifact and face her past in the form of antagonist Rutland. Rutland and his cohorts seem to be on the quest for power, and little more, with Lara is simply keeping it away from them.

Lara finds herself dealing with deaths from her past over the course of the game, but fails to exhibit much emotion. She struggles for snarky comments to her two partners back at the manor, but beyond that, doesn’t offer up a whole lot.

Further, the game goes pretty quickly and doesn’t give the player much time to really care about what’s going on. I wasn’t invested in fighting Rutland and friends and the implications of the entire string of events weren’t really obvious enough to garner any attention either.

So gameplay. Legend is fun, in a streamlined kind of way. Platforming is light, puzzles are light and gunplay is light. It all falls together in a very complimentary way, keeping any aspect from really defining the game. It’s well-rounded and quite well done, so I can applaud this much.

Then there’s the final boss battle. Lara wields her new artifact, a sword, against a supernatural enemy. Believe it or not, Lara can actually hit herself with the sword. It’ll knock around 75% of her health out and kick her to the ground – shark bait for the enemy. This proves incredibly frustrating, but isn’t beyond overcoming even on the hardest difficulties.

Replayability is low. A newcomer to the series could honestly start on the hard difficulty, leaving collectibles and time trials. The collectibles are merely hidden, involving no real skill in acquisition for the most part, rendering them valueless in the face of internet guides, and neither those nor the time trials offer much of a reward for completion. Maybe outfits. Woo.

So despite some fun times to be had, those times will be short and forgettable, much like Lara’s dramatized life story that she seems so uninvested in. The memorable part will definitely be how outrageous it was that she hits herself with Excalibur.

Bottom Line: 6.5/10

Uncharted: Golden Abyss

Source: uk.playstation.com

Source: uk.playstation.com

Nathan Drake has become the flagship mascot for Sony and Playstation (which is coincidental considering it used to be Crash Bandicoot, and if you don’t understand that…), and so it would be silly for them to drop a new console without an Uncharted game. The big sell for the Vita has been console-like experiences on a handheld, so Uncharted would certainly put it through its paces. How did it fare?

Platform: PS Vita
Genre: Action/Adventure
Players: 1
ESRB: Teen (Blood, Drug Reference, Language, Mild Suggestive Themes, Violence)

Things don’t start well. We follow Drake into Central America where he is double-crossed by the mononymous Dante, who is in cohorts with former general Roberto Guerro, the two of whom are after massive treasure. Nate ends up hanging out with Dante’s other partner that he double-crossed, Marisa Chase.

The story is rather reminiscent of Uncharted 2, and as we’ve seen with Uncharted in the past, the real draw of the game is a memorable cast. Unfortunately, the writing starts off pretty poorly. Drake’s lines feel forced and the banter falls flat. Chase doesn’t bring a lot to the table and the player will quickly miss Elena and the endearing sexual tension between her and Drake.

Dragging things down further, the Vita features are shoe-horned into the game pretty hard. Turning locks and scraping dirt off of artifacts with front and back touch drags the pacing down, as do what feel like an inordinate number of short cutscenes. Where console titles didn’t halt the action to turn cranks and interact with many other aspects of the environment, Golden Abyss often stops players in their tracks with some invaluable dialogue peppered over. The worst-offending instances of this are pushing and lifting things with several touchscreen swipes – long and boring.

However, there’s something to be said for the authenticity to treasure hunting that some of the small investigations add. As the game proceeds, they’re less pronounced, and as they become less obtrusive, they become more fitting to Drake’s character. Also long overdue are significant treasures and mysteries. Treasures and photos the player has to take piece together to form a historical background for portions of the story.

This boat ride is a highlight of the game, and that's okay. Source: IGN

This boat ride is a highlight of the game, and that’s okay. Source: IGN

Victor Sullivan finally makes an appearance halfway through the game and sticks it out until the end. It’s amazing how Sully is almost as important to the series as Drake. He and Drake’s banter plays immensely better than anything else in the game. This marks the turning point where the new features blend with the old writing to make a spectacular console-like experience on the little Vita.

Beyond this, the game looks very nice, though you’ll occasionally notice a strange sort of halo around Drake’s character. It’s really something to get this kind of quality on a handheld and makes things all the more immersive.

That might still miss. Source: oxcgn.com

That might still miss. Source: oxcgn.com

However, there are drawbacks to the Vita. Not only does the game suffer from some of the strange aiming issues that plagued Uncharted 3 at release, including what appear to be pretty obvious hits whizzing past enemies, but without a grip cover, the Vita just doesn’t sit well enough in your hands to support extended periods of play utilizing dual sticks in the way most shooters do. The hands will cramp up, so invest in one of those grips that transform the console into a Dualshock.

What starts off as a rough adventure for Bend Studios, obviously new to the franchise, comes together very nicely as a fresh, but rooted take on the Uncharted series.

Bottom Line: 8/10

XCOM: Enemy Unknown

As a teen, I watched both American Beauty and Super Troopers in the same night. I loved Super Troopers and I hated American Beauty. Everyone in the room hated it. Years later, several of my friends that were around that night have rewatched it and claim it to be fantastic – a result of matured taste I suppose.

Similarly, my first experience with turn-based strategy games, not including a slew of Pokemon titles, was back on the Gamecube with “Future Tactics: The Uprising”. It doesn’t help that this was already a pretty subpar game, but it certainly turned me off of the genre. But years later, here comes XCOM and its universal acclaim, begging me to sit down and have a taste.

And it tastes good.

Platform: PS3*/Xbox 360/PC
Genre: Turn-based Strategy
Players: 1 (Online: 1-2)
ESRB: Mature (Blood and Gore, Strong Language, Violence)

XCOM: Enemy Unknown casts the player as commander of XCOM, a military project spearheaded by a council of the world’s most powerful nations fighting off alien invaders.

The player’s primary job is to direct troops in combat. Each mission begins under a fog of war, and the player must lead their troops across the field, find the enemy and eliminate them.

Source: leviathyn.com

Source: leviathyn.com

Troops come in a variety of classes with many weapons in tow. Kills on the field result in promotions in the barracks as troops earn perks depending on their class. Devastating perks at higher ranks are paramount to keeping any individual soldier alive on the field and make it hard to level up young squaddies without late-game armor and weapons at their disposal.

This is countered by varying stages of alien opposition. Early on, rookies stand a chance against mere Sectoids and Thin Men, but later on the game, should the player lose high-ranking officers in a disastrous mission (permadeath, anyone?), the challenge can be insurmountable. Unfair at first glance, punishing a poorly-rounded team is vital to the tooth-and-nail style of the game.

The enemy forces are one of the shining points of this game. Beyond individual enemy abilities, weapons and traits, each enemy species has behaviors not spelled out in a menu somewhere, but available only by observation and vital to success. While the first encounter with some strains of opponents can leave a player decimated, a little retooling to the strategy and some heavier weapons and armor will always solve the problem. Every kill feels like a massive accomplishment.

Should panic rise high enough, nations will leave the council. Source: gamespy.com

Should panic rise high enough, nations will leave the council. Source: gamespy.com

Between battles, the commander is in charge of resource management – facilities, research, engineering and UFO response. How well this is conducted dictates monthly funding. High panic will cause countries to leave the council, and with it, their funding and full-continent benefits.

This portion of the game is just as large if not larger than the combat aspect, and just as fun. The first playthrough can be brutal, as money is tight and the player has to figure out how to effectively allocate it early on to keep every country around from month to month.

In fact, everything about this game can be punishing in a wonderfully satisfying way, even on normal difficulty. Fortunately, the player can save at essentially any time. The brave will tackle Ironman mode, which forces saves at every turn, leaving the player to deal with losses permanently.

All of this is so engrossing, it’s easy to forget the overarching story, dictated only by a few scripted missions. Random encounters fill in the holes as you complete the story at your own pace. That narrative, of course, is trying to overcome the alien invaders and uncover their motives, but the more compelling narrative results from the permadeath and turn-based play allowing you to soak in every move. Memories are made on the battlefield with individual soldiers. “Colonel Zimchenko is a damn hero” might sum up my game, but even other XCOM players may not know what I’m talking about. Stories of that time you were cornered by Ethereals when your veteran assault made a critical shot at 10% odds make XCOM special to each player.

Graphics aren’t really a point of contention for this game. Characters are detailed enough, but the player will spend most of the time looking at a larger portion of the map and not focused on individual troops or opponents. There’s one battle audio running on loop when enemies are in view, and otherwise simmers down to ambient background noises from the playing field. Rarely will the player notice either, as there’s a huge amount of focus being dedicated to the battle itself and the accompanying strategy.

Burning buildings aren't uncommon for terror missions. Source: wikipedia.org

Burning buildings aren’t uncommon for terror missions. Source: wikipedia.org

Occasionally, indicators will signal a troop has view of an opponent when none are actually in view. Additionally, shots will sometimes fire through objects in the environment and hit the opponent. The maps that crop up are varied enough in size and environment, but aren’t necessarily representative of the locale in which the mission is supposed to take place. English storefronts can be found in Beijing, and forest-surrounded streams aren’t uncommon in Egypt.

These, of course, are merely aesthetic gripes. On a more substantial level, troops are subject to panic when mind-controlled enemies are killed, since they are “allies” at the time of death. This seems silly. Panic will also sometimes result in troops literally doing an about face and shooting an ally behind them, which also seems outrageous. There’s also tell of a teleport bug spawning enemies behind your line of troops – a bug that will decimate any Ironman run.

It would also be nice to have an idea of what the field of view will look like in a new position before actually moving a troop. Often a position seems to offer a better vantage point, when it actually prevents view of the enemy entirely.

These mild issues aside, XCOM is a beast of a game perfect for anyone who enjoys a challenge. Even for people who object to a slower-paced game, XCOM is high-tension enough to keep you on your toes anyway. This is a must buy for anyone and everyone, and it can’t be stressed enough.

Guess I should go back and rewatch American Beauty…

Bottom Line: 9.5/10

Obligatory PS4 reaction post

After a couple weeks of buzz, the PS4 surfaced at Sony’s February 20 press conference to no one’s surprise. What did we learn?

A lot, but at the same time, not much.

The Good

A big talking point was the user experience in buying and downloading games. Not only will downloads be playable as they download, but the console will pre-download games it thinks the user may one day purchase.

originalOf course, the system is going to be chock-full of new tech. Sony confirmed 8GB of RAM and lots of other techie stuff, but despite that, gamers have been concerned that the graphical leap won’t be comparable to what we’ve seen in the past from succeeding generations of consoles. And they’re right, so the big focus was on features – social, mobile and the like. The biggest news on this front was the “Share” button on the front of the new Dualshock. This button will allow players to broadcast their play session at any time and even trim up footage constantly being recorded to be posted…somewhere.

The Bad and Concerning

We don’t know where that somewhere is. Notedly absent from the conversation was the Playstation Network and where its headed. Recent leaks have expressed that we might end up paying for it a la Xbox Live, and for that not to be addressed is a bit concerning. It’ll be interesting to see the kind of overhaul the network gets to support user video, a sort of RealID and integration on the mobile front that Sony dug at during the conversation.

Also missing was the hardware itself. We have no idea what this console is going to look like. It doesn’t much matter, but we’re curious to say the least. Predictably absent were price points and release dates, but we’ll probably hear more at E3.

Big surprise – the console won’t play PS3 games. The company suggested that they hope to stream PS1, PS2 and PS3 titles to the PS4, but we’ve gotten empty promises at these events before, so don’t get rid of your PS3 quite yet.

6c052fe2-278a-4a12-a683-7c86f657220eFinally, the Dualshock has gotten some kind of overhaul. The ‘Share’ button is super cool, but tossing in a Move sensor and the touch pad will likely lead to features shoehorned into launch games.

The Games

On the note of games – we didn’t see a lot of them. In the vein of new titles, we saw footage for a new Killzone: Shadow Fall and Knack, a third-person action game. Killzone looked pretty and gets me excited, but Knack was obviously a game designed as a tech demo and I don’t expect much from it. “Look at how many polygons we can get on the screen and manipulate!”

A few other new titles from Sony studios were announced as well, including inFamous: Second Son and DriveClub. Capcom dropped a video for something called Deep Down, which served more as a tech demo. We also got some new footage from Watch Dogs, which was confirmed for PS4.

The biggest news on the game front for me, however, were from non-Sony studios. I’ve always felt that Sony’s biggest advantage over Microsoft was their stable of games, and Sony is going full-court press. Blizzard confirmed Diablo 3 coming to both PS3 and PS4, although it’s certainly possible we’ll see this on Xbox 360/Nextbox, and we also got an announcement for Johnathan Blow’s new title, The Witness, which Blow has suggested will appear on multiple platforms as well.

destiny splash PSUThe real nail in the coffin is not only the confirmation of Destiny on PS4, but the announcement of exclusive content for it. This one will surely show up on Nextbox, but Bungie has gone from being Microsoft’s flagship Halo studio to a multi-console developer. This could really dent Microsoft.

The Verdict

I don’t think anyone is disappointed by what we saw tonight. We’ve got a long way until launch for more games to get announced, and unless the hardware is obscenely obtrusive, it probably won’t turn the tides. The big thing to note here is that the pressure is on for Microsoft. We haven’t heard a lot from them on the new console, especially concerning the social and mobile front that Sony stressed so much. Their ace in the hole at this point is Kinect and keeping Xbox Live ahead of PSN.

article-0-14F9ABE8000005DC-918_634x367Kinect, unfortunately, hasn’t seen massive adoption from the hardcore crowd. I will say that I’m excited to see what it can do with the full-room projection system we’ve been seeing patents for, and I can see this being a real focus for Microsoft as the Nextbox gets its own inevitable press conference.

And should that come to fruition, it’ll be interesting to see the schism it could potentially cause. A product like that doesn’t seem to compete directly with Sony’s gamer-focused PS4, but at the same time offers way more than the Wii U, which has, as I predicted, been a pretty hard flop, not only in capturing the ‘hardcore’ crowd, but in selling at all.

So more questions than answers, perhaps. I think everyone will be keeping a close eye on all the offerings as we near E3. Drop thoughts in the comments below! What’d I miss? What’d I get wrong? Wow me.

Quick Hit: God of War: Chains of Olympus

Platform: PSP/PS3*
Genre: Action/Adventure
Players: 1
ESRB: Mature (Blood and Gore, Intense Violence, Nudity, Sexual Content)

So they put God of War on the PSP to eat up time between God of War II and III. That’s all this feels like. Kratos is still at the beck and call of the Gods of Olympus, and now he must figure out what happened to Helios as the whole world was tossed into darkness.

godowarAfter the epic level of God of War II and III, Chains of Olympus is really a letdown. The story isn’t a compelling one that we’ve been dying to know, and it could even be said it emasculates the character of Kratos as he continues to be the Gods’ errand boy – something we’ve never known Kratos to tolerate, because it was boring and it wasn’t in character.

To be honest, the only prequel story regarding Kratos I’m at all interested in is his rise to power as a Spartan warrior and the battle in which he sold his soul to Ares, culminating in the murder of his wife and daughter. This would do a much better job of pushing the emotional front that Chains of Olympus made a paltry stab at.

Now I’m sure this was a nice tech demo for the PSP. Sony’s first portable – what better way to sell it than utilizing one of the most popular Sony IPs? That’s fine and dandy, but this was no favor for the series. Sure, it played like God of War and felt like God of War, but I feel like the franchise as a whole suffered.

And it does feel like God of War – there’s no doubt about it. At the same time, I feel like there’s only so much the franchise can do without narrative backbone. It leaves the gameplay bare, and after getting off DmC, it hurts. It’s hard to keep engaged in a battle, as enemies will, without fail, break any attempt at a long string of attacks. There’s no good way to juggle them, especially when the large ones can hit you, generally, anywhere on the field of play.

Can we all, right here and now, set a standard for cutscenes? Checkpoints should never be placed right before them, and the player should be able to skip them. I should not be burning time watching a 30-second cutscene between attempts at what is already a broken boss battle.

But there are good things to say about this title. It nailed the God of War formula, and my beef with combat stems more from a preference for what I have grown to appreciate as a more useful and compelling system. Additionally, the game keeps new weapons coming over its entirety, all of which are useful in combat.

However, there’s little incentive for New Game plus, so the fruits of leveling up those weapons will likely be for naught, as will the costumes unlocked after beating the game unless the player wants to use them to grab a couple trophies.

Bottom Line: 6/10

DmC Devil May Cry should silence critics

Full disclosure – never played a Devil May Cry game in my life, so to speak to the traits of the reboot in relation to its predecessors might be overstepping my boundaries a bit, but in terms of a singular game, DmC is stellar.

Platform: PS3*/Xbox 360/PC
Genre: Hack ‘n Slash
Players: 1
ESRB: Mature (Blood and Gore, Drug Reference, Intense Violence, Nudity, Sexual Content, Strong Language)

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Players bemoaned a reboot of Devil May Cry for quite some time, fearing that Ninja Theory would destroy the series. I didn’t have much to say on the matter, since I’d yet to play any of them. For the same reason, I didn’t find myself overly excited about this new one. On a whim, I downloaded the demo and was immediately hooked.

Come full release, the game is everything the demo promised and more. DmC circles around Dante, a Nephilim born of a demon father, Sparda, and angel mother, Eva. His twin brother Virgil  makes himself known and enlists Dante on a mission to destroy Mundus, the demon king at the head of the demon hold on mankind. He also killed their parents, so there’s a personal stake in the matter as well.

Right off the bat, the game is blindly bloody, inappropriate and sharp. It is my understanding that it grasps the intricate button mashing of its roots with admirable accuracy. Combat is nearly spotless. Dante is always acquiring new weapons, all of which can be cycled through swiftly in the midst of battle and all of which are valuable in their own way. Where many games present you with myriad weapons only useful as environmental tools for the level in which they were introduced, DmC keeps all the weapons relevant, tailoring only boss battles around their use, and even these don’t narrow your options for slaughter.

Additionally, enemy types are varied from start to finish, then appropriately amped up as you hit the higher difficulties on multiple playthroughs. These help to focus your attention and force all the weapons to be utilized, training you in the varied combat necessary for higher style rankings without you even knowing it.

Collectibles also make an argument for tackling the game at least once more. There are lots to be had, and many of them in early stages can’t be accessed until the player acquires weapons from later levels, paving the way for those secret missions and health upgrades.

I did encounter a progress-halting bug as two weapons seemingly disappeared from my inventory. An internet search found only one other soul encountering the problem, and after turning off the system and booting up another level, they returned. I can only hope the other guy had the same luck.

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Graphically, this is a really pretty game. Shadows can be blocky, especially across faces, and it’s hard to say if this was an artistic decision or a glaring ugliness. The soundtrack is also killer. Under no other circumstances could I tolerate the heavy punk lining every level, but while tossing enemies to the skies and ripping them to shreds, there could be no other way about it.

The story, while somewhat predictable, is engaging enough. Ninja Theory recognized there wasn’t much to it, and so paced it pretty quickly so the player could go back and do it again. No one is very deep and Dante’s affection for the human Kat isn’t touching, but it’s better to take it for what it is, especially considering even Dante isn’t taking it very seriously. His conversations often consist of “Fuck you!” before tearing into battle. He does spin off a great one-liner once in a while, and it all rolls together to keep the game from being too dark and mundane.

More prevalent are the literary allusions. Using the Divine Comedy’s character’s names makes the game’s roots obvious, but the nature of the game can keep it subtle at the same time. While no one is surprised that Virgil is the leader of the Order that comes to recruit Dante, just as the writer Virgil led Dante Alighieri through hell in the Inferno, the relevance of Dante’s ascension of Mundus’s tower towards the later stages of the game didn’t resonate with me until Kat said “You’re going to have to go up five floors of hell.” Finance is located on the eighth floor of the building, and while fraud on this floor was likely, perhaps they would have been more appropriately located on the fourth floor with gluttony. Nonetheless, the more well-read of the game’s audience will appreciate the nod to 14th century Italian literature.

This is a game I’d love to get through again on a higher difficulty or two, so hopefully my backlog will allow it sooner than later.

Bottom Line: 9.5/10