Virtual reality is made for games like Good Goliath, where players immerse themselves in the fantasy of creating havoc as a giant. Grab and toss people or the weapons they hurl your way as successive enemy waves seek to bring you down. It's standard fare that's elevated by the unique perspective, fun scenarios and overall polish, though the sometimes imprecise and repetitive gameplay threaten to cut it down to size.
First, a disclaimer. I've played for hours, but so far have progressed only through the first third of the game (more than three of nine levels). I'm admittedly not the most coordinated gamer. So I will (and you should) keep that in mind as I discuss what is generally a fun game to begin with that most gamers will likely enjoy for its sheer scale, sense of humor, intuitive gameplay, inspired art design and quality production values.
The first thing players will notice in this Knocktwice Games release is the entertaining voiceover that introduces them to the plight of the giant. The narrative and storybook delivery create a fairytale premise for the misunderstood Goliath, who intends no harm and just wants to return home but has alarmed people by appearing at a time when giants no longer roam the countryside. This conflict provides context for the confrontations to follow.
While the story provides the foundation for the action, players will be motivated not just by survival but by scoring. All damage dealt by gamers is tabulated for a final score at the end of each stage and bronze, silver and gold medals awarded at the end of each level, if I recall. Extra points are awarded for multiple hits, long distance, etc., as well as for taking no damage and clearing a stage quickly. Bullseyes encourage extra target practice.
Of course, players won't need such encouragement when faced with waves of villagers, knights or pirates, and their catapults or cannons, or tougher enemies such as witches, conjured or captured giants, and section bosses. Gamers will be too busy fending off or returning fire with pitchforks, halberds, lances, barrels, explosive barrels, cannonballs and even wagon wheels, boulders, sharks and fireballs.
Gameplay boils down to outlasting waves of enemies by avoiding incoming fire while also snatching some projectiles from the air for a return engagement. And it can be quite funny, as foes will launch their own screaming people at players, who can lob them back or toss them into the ocean to lure a shark, which in turn will do more damage. But do check yourself for pointy objects (pitchforks, halberds, spiked bombs, sharks) and clingy people!
Enemy targets like people or boats can take three hits depending on weapon, though weapons like anchors or sharks are one-hit wonders, and explosive barrels of TNT or bombs can take out multiple foes. And for the record, the latter attacks are sites to behold, with nice particle effects and lots of debris. This is especially true of Peasantville, the first level, which features destructible environments dotted with bullseyes.
For all the damage that the player can do, they're vulnerable to being hurt, too. The game does warn players to tilt their heads to avoid projectiles, but this fool will tell you it's not foolproof. Some attacks during the game can be avoided but others cannot, and players can still take damage. Thankfully, bakers will helpfully walk or float by carrying healing cakes that players can nab with a well placed hit.
This is one of the key gameplay elements. While some weapons will be tossed at the player, others will need to be obtained by hitting a respective target. Critical blows will force people to cough up explosives, boats to launch their anchors into the air, and giant skulls mounted on pillars (pirates are a resourceful lot) to disgorge their cannons. Combined with using people as shark bait or cannon ammo, it's an important strategic consideration.
So how does all this play out? Like the combat in most castle-defense games or horde-type game modes, enemy waves in each level start out simple before progressing to more challenging stages. To begin with, the Move controllers function well, especially given the basic mechanics of grab, throw and deflect. The headset, too, manages to track dodge movements well enough to avoid danger.
Indeed snatching objects out of the air and tossing them back is extremely fun and rewarding particularly the more damage you inflict. Players are literally giving as good as they get, and there is a real sense of satisfaction and just desserts in that effort. Plus, it's surprisingly easy to catch pitchforks, halberds, lances, etc. despite their narrow circumference and quick movement. But the real joy is in catching clearly terrified people or ravished sharks.
This is where the game shines, but also where I struggled. The more enemies and projectiles on screen the more options players have both to select a weapon of choice in any given moment for each hand and also to identify which target to hit. And this happens constantly in real time. Grab lesser weapons to force foes to give up TNT or bombs, use those to cause more damage and/or retrieve the same or anchors, etc.
Imagine dodging incoming attacks while reaching up to snatch projectiles out of the air, swinging your arms down to toss them at explosives carrying foes or boats, raising your arms again to collect those explosives tossed up as debris, dropping your arms to throw them at enemies, catching anchors or other debris, tossing those, while also using foes as shark bait or hitting a baker for healing cake. And repeat nonstop until the wave is defeated.
This also applies to when bosses are on the field, though naturally they present their own challenges as they're tougher to bring down and hurl kinds of boulders at players, all in the midst of smaller foes and enemy catapults or cannons still firing on all cylinders. Helpfully, blue-tinged boulders contain orbs that detonate on impact, though both they and red-tinged boulders have to be punched apart first. All told, battles are high-intensity affairs.
It's during such barrages that players might encounter issues with responsiveness or targeting. I found that the more hectic is the battle and the more quick are my movements, the harder it was to dodge attacks, catch projectiles or hit my mark when targeting foes. This could be an issue of tracking via the headset or motion controllers or, admittedly, worse coordination on my part when panicking under fire.
I know for a fact I'm less adept than others when it comes to demanding gameplay, so I do take that into consideration and make allowances when writing my impressions. It's possible this won't be an issue for many. Still, I always appreciate when developers include multiple difficulties, or customization options to improve accessibility for gamers. And to their credit, Knocktwice Games allows players to adjust Throw Strength.
If I recall, the default Throw Strength is set to 6 out of a total of 10. I maxed out mine and it did in fact improve my throws as farther targets were much easier to hit. But it didn't help me enough. I would have been grateful for other difficulties or a feature in games like The Persistence, which controls targeting (and teleportation) with the headset and, if I recall, uses a targeting reticule. But again, I expect most won't struggle like I did.
In fact, there is plenty of promise to judge by the early levels. The quality presentation, storybook aesthetic, sense of humor and generally well executed gameplay allows them to stand their ground in the shoes of a Good Goliath in a way few, if any, games can. It's worth checking out, especially for players who have better than woeful coordination, and who won't easily tire of castle-defense or horde-style gameplay.
(This post was based on a review code of Good Goliath for PlayStation VR. The game released March 31 on that platform as well as Oculus and Vive.)
(Be sure to check out additional images here: Screenshots.)
It was gratifying to see over 50 works in progress by independent video game developers at the recent DreamHack convention in Anaheim, CA. In its inaugural West Coast appearance, the event that showcases online competition also helped promote games like Undying and Kynseed, which I cover below, as well as Cepheus Protocol, Adventures of Chris, Delphyq and WaveBreak, which appear in other posts.
The trailer for this action-adventure survival game by Vanimals promises an emotional story at the heart of a disturbing journey through a nightmare world. As a fan of The Last of Us, that's hard to pass up. Indeed this tale of a mother's struggle to save herself and her son from an encroaching zombie apocalypse is an appealing premise amid the allure of a stylish setting.
The mother in fact has been infected by the zombie virus so is racing against the clock not only to find a cure or at least to find someone who can help her cure herself, but also to locate a safe place for her son to live and for her to teach him what he needs to learn to stay alive. The boy starts very young and inexperienced, and needs to be taught how to fight, craft, cook, scavenge, etc.
The demo actually starts out as a kind of escort mission as players control the mother with her son in tow. Thankfully, though, he is not much of a burden. I was especially impressed with a scripted moment that saw his mom instruct him to hide and the boy dutifully disappearing into a crawlspace amid rubble. The ability to fight off undead without such worry was appreciated.
In this regard, he'll prove useful even before he learns other skills. His smaller frame will allow him to access areas that his mother cannot, such as crawlspaces or vents, whether to hide or to help solve puzzles or take advantage of co-op opportunities. The demo was an early portion of the game, so the boy's capabilities were limited as he and his mother explored the city.
Urban and suburban areas are among the different zones or biomes found in the semi-open game world. Each has its own distinct activities and events, such as scavenging in the city and suburbs or hunting/gathering in forests. Survival is key regardless of zone, as players will need to carefully manage the health, hunger, thirst, stamina and rest of both mother and child.
The child's happiness and morale will also require the player's attention. For example, if the boy becomes unhappy, he'll be less likely to want to help his mother. It's an intriguing element (that might pique the interest of fans of The Thing video game) that could add an interesting dynamic. If taken care of, her son could be an asset, including during combat.
There are melee weapons and guns, and both mother and son can use any weapon. However, the game and demo begins with the mother protecting them both and she proves capable especially with found objects. Combat is relatively simple to begin with and easy to control. Players eventually can craft weapons and ammunition, as well as improve or strengthen them, as they otherwise can break.
The demo overall was a very playable introduction to the game that showed off basic elements of combat, exploration and story. It was easy to pick up and the highly stylized settings and character models showed a compelling aesthetic from a slight isometric viewpoint. The only issue that I recall was impassable stairs without obstructions, but this was an early build and will be addressed.
The game's biggest challenges will include finding resources and fighting zombies as well as rescuing survivors and facing factions. But Undying is narrative heavy and will be driven by a story that is dramatic and emotional. The story does hold a lot of promise, and the demo was an enjoyable and promising introduction to a game I look forward to hearing more about.
The premise of Kynseed – where players can experience generations of the same family – proved too alluring to pass up, especially when the setting is as picturesque as the land of Quill. Indeed PixelCount Studios includes veterans of Fable games intent on creating charming, eccentric and humorous adventures in a beautifully hand-crafted world.
Gameplay is intended to allow players the opportunity to control a character that ages while they farm, run a shop, explore, etc. and make decisions that influence generations. Gamers can then play as their character's children to expand on the family's legacy and reputation in the unique villages, valleys and meadows of the world as well as the mysterious fairy tale forests.
Villages have their own customs, traditions and festivals as well as villagers with their own attitudes ranging from cheery to humorless. Players can use this information to form relationships and succeed at business. But if gamers want certain materials to craft better items or create more potent recipes, they might have to fight denizens of forest – monsters of folklore or Fae folk – to get them.
I made the most of my limited time with the demo, considering attendees were waiting in the wings and the person at the booth was preoccupied. Importantly, I believe I heard that some of your choices could take years off your life, perhaps due in part to the mystical nature of the Kynseed from which your family tree grows. That would help propel time forward in a game about generations of the same family.
That said, I didn't play long enough to experience such choices. My time with the game was limited to exploring Quill on foot and, happily, on pigback. The pig is easy to control and moves at a fast enough pace that riding one is a joy. Walking certainly is a fine option, especially when you'll want to take your time to enjoy the bucolic setting, but exploring via pig just makes everything better.
Speaking of the verdant scenery, players will rarely find more beautiful wilderness. Pastoral imagery of tall trees amid green meadows of flowers bursting with color and occasionally punctuated by deep blue streams or pristine ponds creates a sublime vision. Subtle animation of foliage blown by a breeze or water gently undulating, plus various insects, animals or petals and leaves, all add to the wonderful aesthetic.
Structures, both inside and out, are just as thoughtfully rendered throughout the landscape. NPCs likewise reflect distinct features and clothing. My overall impression after my brief time with the demo is of world building that is consistently of a high quality. Moving freely between areas felt like an organic, complete whole, though a map or other guidance would have helped keep me from getting lost.
Now, for all I know these exist in the demo but I didn't find them and was without assistance. And admittedly I like to wander instead of follow a path. So I did come across some characters outside what likely was a farm or other large dwelling. I enjoyed the dialog, which involved one of them warning me that I'd better disappear before the owner/proprietor came back as they would not appreciate finding me there.
I didn't know what that was about but was curious and excited to find out, though of course I didn't stick around and proceed to explore some more. I didn't fish when I came across a pond, though someone before me did, to comical effect as they ran around with the fishing line still firmly submerged in the pond.
As mentioned I had precious little time with this demo though I did enjoy exploring the small corner of Quill that I managed to piggyback around in. If those few minutes, and the early access trailer, are any indication, Kynseed should be a game that deserves more attention and a deeper dive by players interested in the kind of experience such am RPG might be able to offer.
For more photos from the show floor, visit here.
The inaugural Anaheim, CA, appearance of DreamHack succeeded in promoting over 50 video games by independent developers, despite its renown as a convention heavily geared toward online competition. I demoed works in progress Delphyq and WaveBreak, which I cover below, as well as Cepheus Protocol, Adventures of Chris, Undying and Kynseed, which I cover in other posts.
This RTS shooter by Beyond Red Wave Arts is designed with a real-time/pause system to provide more realistic tactical combat than available in a turn-based game. The core gameplay mechanic has players controlling a squad by issuing commands to them while the game is paused, then unpausing the game to have the squad execute the commands.
Your squad is made of rebels, seven outcasts trying to overthrow three oppressive corporations that rule the world. They're fighting for a good cause in an epic story about corporate power that is relevant to the modern world, so the developer hopes players will relate to their principles and what they're fighting for and become attached to them.
I'm a console player, so had to get used to the WASD camera controls, including rotating the camera with Q and E. Thankfully the camera can shift to virtually any perspective so monitoring the squad while scouting maps and enemies is helpful. At the start, I clicked and dragged over the entire squad to advance as a group, though detection meant a hasty retreat and more careful tactics.
I didn't pay attention to begin with to abilities or skills like medic, sniper or assault, focusing instead on orders including call, sprint, stance (standing/crouched), engage (attack/stealth) and wait. (Call and wait can be used to chain commands.) Once engaged, I ordered an attack. But also sent some members forward to cover (movements can be plotted, with body outlines indicating if cover is an option).
Enemy units were defeated, but managed to injure squad members. Health and energy can be monitored via gauges, and replenished with area of effect actions, whereby the medic can perform a group heal or the tech can refill energy bars (energy is for shields and a power source for abilities). But resources can run out. For instance, if using power for abilities, the shield is being depleted.
It's therefore important to find charging stations for replenishing one's health or energy. But be aware that only one unit can be selected at a time to use a charging station. When trying to use a charge station on one wall, I inadvertently sent my squad around the wall right into enemy forces, a mistake that can happen at times.
It's especially important to keep gauges full because incapacitated squadmates can bleed out if a timer expires or the unit tending to them doesn't have enough energy to revive them. They are then lost for the rest of the game. There are no reinforcements or recruits. Therefore, as the saying goes, the best offense is a good defense. Careful strategy and tactics are key to making progress.
Part of a good strategy is infiltrating with stealth as far as possible before the squad is forced to engage the enemy (keeping in mind that when in stealth, units won't fire). Once any member is detected, a reinforcements timer will count down. When that happens, it's important for players to get their squad out of danger before the timer runs out.
Once the squad finally engages the enemy, the full game will allow players to implement an auto pause if a squad member is shot. That member might be doing something critical when shot, such as facing something important or about to kill an enemy, and if shot they might turn around. An auto pause will ensure engagement is a conscious decision by the player.
But if all goes according to plan, players will be able to dictate the terms of engagement with the enemy. The call command can be used to coordinate their raid, effectively chaining commands such as using code A to send a unit to one corner to throw a flash bang while using code B to send another to a different corner. When the game is unpaused, the player can watch all the action unfold.
Of course, I learned of all this the hard way when it was time to infiltrate a building. Besides struggling with how to open the door (a unit has to be selected then asked to interact with the door), I didn't realize players can queue commands past the door so as soon as it's opened, the squad can rush through and carry out their respective orders. Though apparently that wasn't working well for the demo.
At this point I was still moving my squad en masse so inadvertently alerted the patrol inside to our presence. I was able to position a few into cover but spread units too thin and some became incapacitated. With the reinforcement timer counting down, I desperately tried to revive units only to place others in danger and my mission quickly fell apart.
This was due in part to enemy AI, which has been in development for more than a year and a half. The studio has worked hard to make enemies intelligent, giving enemies a way to score their actions to determine what is the best thing to do at the time. In our firefight, they immediately took cover, then spread out and advanced under cover, attacking as the opportunity arose.
My squad, on the other hand, was not only handicapped by my ill-advised foray into enemy territory and limited familiarity with controls or gameplay, but by realistic consequences that involved squad members being unable to fire back when hit by enemy fire and moving slowly when injured. Pressing the Z button can undo commands, but even that can't help once the mistakes have piled up.
It's a hard lesson to learn, especially when playing a demo for a limited amount of time and learning controls on the fly, but the key to the game is getting the drop on the enemy to avoid the reinforcement timer and then, once it's triggered, beat it. Players have to get their squad in, conduct their mission, grab everything that they can and get out before reinforcements arrive.
A big part of every mission is collecting intel during primary, secondary and optional objectives. Intel provides key information for future missions such as blueprints, enemy types and charging station locations. When selecting missions, players should choose the one with the most intel gathered. Then they can plot routes based on all the available intel.
Intel will also help determine what units to bring. Each unit has its own specialization and upgradeable abilities. Some have a very short range but when in range they are fast to the trigger; the heavy is for farther distances, but less accurate; while support units are for medium distance. This is to encourage tactical choices, such as engaging with longer range units before flanking with close quarter units.
Beyond Red Wave Arts wanted to give tactical minds a game that's not available. Delphyq is inspired by X-COM, Jagged Alliance and Full Spectrum Warrior, but is a very complicated game that is designed to appeal to a specific kind of gamer. And while it might not appeal to mainstream players, the studio will adjust difficulties later on to make the game more accessible.
The studio also holds out the possibility that a very tactical e-sports type challenge might be possible in the future. But multiplayer is not an option right now as the small studio is focusing all its efforts on the campaign. The team has grown from eight to 11 in the past six months (prior to that, five people were working on it), so the rigors of developing a rich single player experience takes all their time.
The Steam demo is free, so interested gamers can try it out. The game is a deep dive with lots of options for players who prefer complete control from planning through execution. Controls are comprehensive, the presentation is detailed and polished, and gameplay is solid and suspenseful. With time to learn controls and gameplay, Delphyq's take on tactical shooters should find a dedicated niche.
It was a pleasure to see and demo this game again, after having tried it for the first time when visiting the Funktronic Labs booth at IndieCade two years ago. In this competitive on-rails stunt game inspired by classic arcade skating games like Tony Hawk, Wave Race and Rocket League, gamers try to earn as many points as they can in a single round by playing modes such as the main mode of Trick Attack.
Players begin by selecting their character from among six choices of bear, otter, raccoon, dog, owl or crocodile. They can choose from Trick Attack, Free Skate, the multiplayer Deathmatch and Turf War, or a campaign that will feature a very light story and several missions per level. At launch the game will likely have five levels, with one added soon after; all will be quite a bit bigger than the demo level.
There are tasks to complete, collectibles to find and a variety of tricks at players' disposal. X/B buttons allow tricks to be performed while in midair. A lot more moves are planned, with at least four for every face button on the controller and combo moves. MP weapons include a rocket launcher, AK, M4, Uzi and shotgun, while a flamethrower and melee weapon might be added.
The busy booth meant I had to reacquaint myself with the demo controls so eventually figured out some tricks but not soon enough to prevent ill-timed jumps or wayward wipeouts. The reasonably sized map had abundant rails, jumps and landmarks to trigger stunts, plus interior and exterior settings to explore, so players with more game experience could take advantage of the many options.
And while I didn't get to try the multiplayer modes, I did watch the developer demo one of the modes and was impressed with some of the different weapons and the respective particle effects and explosions. The demo certainly is more comprehensive than the last time I saw it, and it speaks well for the production in general that everything is more polished and benefits from greater content.
As players progress, they earn money to purchase stat points for themselves or to upgrade their character. There are also customization pieces that have some stats on them. Some boats can drive or handle a little better, some can jump higher, etc. Boats are the main vehicles and can be bought as players go along, but there are other water vehicles like jet skies or speedboats.
In general the boats handle well, a variety of tricks are a button press away, and map design offers multiple stunts and scoring opportunities in single player. The bright, colorful presentation and animated characters provide a charming setting, even when characters are gunning for each other in multiplayer. The fun foundation is strong and Funktronic should continue to grow the game in exciting ways.
For more photos from the show floor, visit here.
I have to hand it to DreamHack for dedicating a section of their Anaheim, CA, show to independent video game developers. This inaugural West Coast appearance of a convention heavily geared toward online competition made room for creators demoing over 50 video games, four tabletop games and 11 student games.
Among stages and play areas set up for esports, an expo area provided a venue for the Indie Playground. This is where I demoed games and spoke with their developers or representatives. Works in progress included Cepheus Protocol and Adventures of Chris, which I cover below. Delphyq, WaveBreak, Undying and Kynseed will follow.
A video showcasing the latest build of this isometric squad-based tactical shooter was my first introduction to the game only a week before the show. Based on that video, this became a must-see demo for me. It had the appeal of a tactical squad-based shooter like Ghost Recon and a top-down survival horror aesthetic like Dead Nation.
Cepheus Protocol is a real-time strategy game by Halcyon Winds that tasks players with controlling units sent into San Francisco to deal with the spread of a destructive virus. A Defense Team protects a home base, while an Away Team is deployed to pursue objectives. The game features eight-person teams and multiple formations for tackling each challenge.
Players select units by dragging the cursor across them, choose a formation, then right click to select a destination. Individual movement is also an option. When grouped, formation selection is important. For instance, a V formation can funnel the enemy into the middle, but teammates will lower their weapons and not shoot to avoid friendly fire.
In that case, players can select a different formation. But in the middle of a firefight, players can also rotate the formation while holding down the right mouse button. This also helps cover the flank when in formation. Units will fire on enemies in front of them but if attacked from behind, enemies can grab and turn units around. If they get too close, a bar will fill and, when full, units will die and attack the team.
I learned this lesson the hard way when I was preoccupied with the area and enemies ahead of my team and neglected an attack from behind. Thankfully, controls are fairly intuitive, especially with a HUD that includes a lot of information such as icons for actions or formation selection. Combined with well-integrated mouse control, planning and reacting are equally helpful, and pivoting on one’s six is easy.
One thing that I thoroughly enjoyed and likely spent way too much time on was adjusting the dynamic isometric camera. It allows for complete control of pitch, angle and distance, adjusting zoom with the middle mouse wheel, lowering and raising the view while clicking the wheel, and rotating the view by moving the mouse. Players can view from any perspective with fluid camera movement and detailed graphics.
In fact I was distracted with how good the camera was and put my team in jeopardy. After selecting an objective with a right click of the mouse, my team ran toward it and I zoomed in on the action, oblivious to the threat that lurked off camera. It's a good thing, then, that the camera is so easy to control, as players can quickly zoom out, re-center on foes, and reposition units if necessary.
Team members, which represent classes like spec ops and medic, are armed with assault rifles, sniper rifles, machine guns, shotguns, pistols, etc., each with a certain range. Players can order their teams to fire, but they'll do that without instruction as long as the enemy is within their sight – lines of sight appear on screen, but can be turned off if too distracting, which can be the case on occasion.
If a team needs ammo, players can grab the ammo icon and place it in front of the team. Ammo will parachute down and players can select the team and spam the refill option. It’s relatively simple. When at an objective, a team member can be placed on the objective to trigger the next scene/action. Of course, I couldn’t because the icon was over water, until I chose the pier directly beneath the icon.
As team members gain experience, their ranks and skills likewise will increase – the more they fight the enemy, the higher their ranks and the better their ability (at the beginning they’re hesitant but as they fight the virus more they’ll become more confident). Opposing them are several kinds of infected, from smaller foes to larger tank-like enemies to hulking beasts.
Enemies have different capabilities. Tall, skinny foes can leap at the team, some enemies spray caustic spit, heavier adversaries can blow up when near, and a colossal juggernaut can overwhelm. Settings can be adjusted to add a red outline for visibility of enemies, which spawn from nests that have to be destroyed. A nice option is dropping an airstrike by selecting the nest, though friendly fire is a risk.
I mostly encountered standard foes during my brief demo. They are generally quick (with fluid animation), so although you can race to your next objective, a more cautious approach is a good idea. Indeed the team can get overwhelmed if too hasty. I did manage to find a nest, but either due to location and/or proximity, could not implement an airstrike before the captain was killed and mission failed.
Your teams, conversely, have a home base they must protect. The Defense Team can be set to defend against attack, including establishing patrol points. Fast travel allows the Away Team to return as necessary. For instance, DNA samples collected by your scientist in the field are turned into the command center for points that can purchase better weapons or abilities for the team to help it fight the virus.
Halcyon Winds has crafted a living, breathing world where threats can emerge anywhere at any time. If the Away Team spends too much time in an area, the AI will start attacking other areas to keep players on their feet. The AI in fact will behave differently every time, so enemies might attack from a different area during a new play through.
Whether playing the really hard missions later on in the game, or replaying Cepheus Protocol, players will want to keep their options open. For instance, units can be controlled individually or grouped into small or large teams; and teams can be made up of different classes or a single kind like assault or spec ops. But there’s always a trade-off to consider. In the end, choices become very strategic.
There’s so much to do that a keyboard is best suited to the gameplay as opposed to a controller. Halcyon Winds in fact looks to bring the setup for MMOs over to the game because many are used to that. And while they’ve taken inspiration from games they love that are RTS, MOBA, etc., hoping it satisfies players that want a strategy game, they’re also differentiating this game from others in the genre.
The game is designed so everyone can play it differently, as opposed to RTS titles that can be linear experiences. Players select where to go on the map, and each grid will have a color that corresponds to the threat level. So a green area might have fewer foes than a red area. Players can then decide squad makeup, size and formation, and opt for a tight formation or sending units to the left, right and down the middle.
The Away Team and Defense Team both can be customized. Players can build an entire team with one class, like spec ops, or choose one or two snipers only. The home base and its defenses, such as turrets, likewise can be built by the player. One way to accomplish this is to take down bounties – or minibosses – like the juggernaut in order to earn in-game money for spending on upgrades.
Bounties are important because the game has no microtransactions. Everything is bought with in-game money earned while playing. Taking out a bounty like the juggernaut can net a reward like $60,000 for buying weapons, defenses, etc. Earning bounties and experience like killing infected also raise ranks for better target acquisition and overall combat. Also helpful is conducting virus research via the scientist.
Besides focusing on gameplay, the developers wanted players to care about the characters. The lead writer, whose game-related novel provides a backstory to Chelsea (patient zero) and explores why Capt. Winter joined the CERC (think CDC), crafts a story of how Winter is sent to combat the virus and Chelsea, who is using the infected to take control while trying to resist the alien infection within her.
Steam early access for the PC game starts May 15 and includes a free roam mode on Treasure Island and Yerba Buena Island. This mode is basically an open world chess match battle against the virus, which should play differently with each attempt. The full release is planned for Q4 with a different game mode(s), storylines and (replayable) missions in areas like Alcatraz, the Presidio and downtown.
Cepheus Protocol has been in development by Halcyon Winds for 1-1/2 years with 20 people working on the game. I came away impressed with the vision of the developers and with the demo. I'm not an RTS fan (or PC gamer), but this had an arcade feel despite how deep it can be, meaning controls are intuitive, the HUD and gameplay are well integrated and it's just plain fun to play. I can't wait to see how this evolves.
Adventures of Chris
I've been following this game's development for a while now so was eager to demo the game for myself. The side-scrolling platformer by Guin Entertainment (lead developer Chris Guin, to be precise) is inspired by '90s TV children's cartoons and sports a similar aesthetic and sense of humor that, along with clever gameplay, help this creative title stand out from the crowd.
Conceived as a story-driven, character-rich, hand-animated '90s-style cartoon, the game follows an ordinary overweight nerdy kid in 1995 (modeled after the developer's own childhood) as he and other children are abducted, taken to Transylvania and turned into toys. Chris can change into a balloon and uses his new superpower to try and free the other children and, ultimately, save the world.
Chris learns how to control his power in the Kingdom of Lost Balloons, and discovers that the world is filled with supervillains like the kind that you might have seen in Darkwing Duck, Captain Planet or Teenage Mutant Ninja Turtles. They are in settings like Los Angeles, Mexico, Chile, Malaysia, Tokyo and the Great Barrier Reef, accessible when Chris floats up and off the screen.
In the demo I visited Malaysian swamps (including a sunken temple) with flying fish and mosquitos (there's a mosquito boss), some of whom spit acid; Tokyo rooftops with bats and ninja cats that hurl stars (the villain there is a big ninja cat, basically); and the underwater reef teeming with jellyfish, predatory fish, crabs and sea urchins that shoot spines (a large urchin is the villain).
Apparently two of the settings I visited are among the more difficult. And my journey was no piece of cake, though I'm not the best platform gamer out there. Thankfully controls are fairly nimble and responsive, with basic moves like jump and crouch simple to pull off. Helpfully, Chris can inflate to reach higher areas for exploration, a tactical advantage or to avoid danger.
For example, Chris can float above flying fish, underneath ninja cats prowling rooftops (using his hands to move along the eaves), or around mosquitos and bats. He can float among the clouds, or underwater as he's pulled by a sub while avoiding jellyfish, hungry fish and prickly urchins. Of course navigating such platforming elements can present a challenge.
Whether it's platforms above swamps, eaves underneath rooftop foes, underwater tunnels or an elaborate system of ducts/vents, players will need to judge when to inflate or deflate, or how to control the sub, to avoid the various threats of each setting. My judgement and timing leave something to be desired, but such obstacles can provide a rewarding challenge with a little practice (and help, in my case).
Also helpful against foes are special skills, such as a powerful punch or fireballs; specialties like a super bounce (to jump high), a dash kick, or a super punch (where Chris rockets forward – a powerful move that comes later in the game); and a bunch of spells (i.e. fire, ice, lightning). The regular punch and fireballs are easy to pull off and effective, with the latter also helping light dark areas.
All told, players can acquire a significant roster of attacks, as well as upgrade health, magic and helium. The latter is possible in the Bakery when visiting the Kingdom of Lost Balloons: a strawberry shortcake upgrades health; keylime pie, magic; and a cola float offers additional helium. Chris can also purchase shirts – a red one, for instance, provides armor.
For an even more custom experience, players also can change difficulty mid-course by using the menu button, selecting options and choosing the difficulty of their choice. Once players unlock everything there's still more to do as they can use those abilities and upgrades upon revisiting different parts of the world where new opportunities have opened up.
The Kingdom also includes a Library with books that have been collected from different levels. A secret treasure/prize awaits those players who find them all, but they're also filled with lore, explaining the backstory of all the villains. Levels also include collectible flags of the countries Chris visits. Books and flags figure prominently because the designer enjoyed them as a child.
Adventures of Chris has a charming design and creative gameplay, and my time with the demo reinforced my excitement for this title. The varied settings, their impact on gameplay, and the compelling action including platforming make for a consistently entertaining experience. It's a thoughtful concept and a fun journey that I look forward to hearing more about.
For more photos from the show floor, visit here.
Cyberpunk is having a resurgence of sorts in pop culture, a development that is especially pronounced in video games. High profile titles have garnered attention, and smaller releases are helping raise awareness in general. But there is an indie game that lately deserves a higher profile. 7th Sector released this week on consoles, and it is a creative and atmospheric side-scrolling puzzle game that entertains on multiple levels.
Developer Sergey Noskov and publisher Sometimes You have found a winning formula with a unique experience that not only alternates between different avatars and varied gameplay mechanics, but presents a narrative that is at once appealing and confounding as it centers on a main character (or characters) that is either human or artificial or both and is desperately fleeing an existence and society in disarray. It is enigmatic and relatable.
Players, after all, begin as a figure on a TV screen that breaks out of the picture tube to become a spark traveling along circuitry. At other times players will control objects including an RC car, an electronic sphere, a mech or robot, a kind of drone and a person. Sometimes the transitions are seamless between avatars, other times they are implied or imagined. Is it the same essential spark that energizes each avatar? What is the connection, if any?
These are mysteries that gamers are encouraged to figure out for themselves. And in case you wonder whether I spoiled too much, I'm still coming to grips with what I experienced and in no way feel like I have all the answers. In this way, 7th Sector is a puzzle itself that needs decoding, from control panels, computer interfaces and mechanical obstacles that use math, pattern recognition or another test, to its dystopian world of organic/mechanical conflict.
The puzzles themselves offer a refreshing array of challenges. Math skills will be sorely tested as there are multiple obstacles that require the correct combination of data though sometimes in different formats. A variety of tests involve pattern recognition but in assorted displays. Physical obstacles demand speed and precise timing across varied settings. And melee or ranged attacks also factor in to different scenarios. It's a wealth of puzzle content.
Thankfully controls are relatively simple and reasonably configured on the Nintendo Switch. Movement is responsive and fluid, and interaction with objects is simple and intuitive. To facilitate actions, animation is smooth. Depending on the avatar, players will sprint, crouch, traverse gaps, operate controls or machines, avoid detection or assault, attack, solve problems, etc. And apply each ability in a range of situations that keep such tests fresh.
I don't want to give away too much about the puzzles as they represent the chief element of gameplay. But I will say that they can be challenging, though for most gamers that's likely a positive. I definitely enjoyed the broad variety of challenges and the consistent entertainment value, still there were times that I was frustrated either due to the nature of the puzzle, how the presentation could interfere, or the precision timing involved.
As a spark, traversing cables while evading disruptive charges is fun, but attempting obscure mathematical puzzles -- including one with unclear symbols -- was not. Using a mech to clear a path is a blast, except when fired upon from foes offscreen. Traversing an obstacle course is exhilarating, but not when there's precious little margin for error. And controlling the RC car is a nice option, except for unintuitive 3D movement and items that get stuck in irretrievable places.
Of course, fans of 2D side scrolling games can expect trial and error gameplay. And most gamers seem to enjoy a tougher challenge than yours truly, who just wants a fun escape at the end of a hectic work day. So while I might chafe at an obscure math problem or rage at my umpteenth attempt to avoid the same obstacles, I suspect most gamers will appreciate the challenge. As long as they keep the Switch docked; details are too small to be helpful when portable.
Did I mention there are four possible endings? The one I unlocked (and that I've seen online) reinforces the enigmatic nature of the narrative in general, though it does give rise to some suspicions I have about the story. That said, I'm curious if the other endings might contribute any more to one's understanding of the game. But to be honest, I prefer its mysterious nature and how it can be open to interpretation.
Combine the varied and challenging gameplay with a mysterious if spare story, a genuinely compelling setting and a classic art design that appears to take inspiration from Blade Runner and Ghost in the Shell, and you have the ingredients for an entertaining journey. The score and sound FX also complement the game well. All in all, it's an excursion into a dystopian cyberpunk world that's worth taking for those with a sharp mind, steady hand and quick reflexes.
(This post was based on a review code of 7th Sector for Nintendo Switch. The game released February 5 on that platform as well as PlayStation 4 and Xbox One, following an initial release on PC.)
(Be sure to check out additional images here: Screenshots.)
I’ve been a fan of sniping as a gameplay element at least since 2005 when I played the original Sniper Elite on PlayStation 2 (still my favorite sniping game). The franchise has made a considerable niche for itself in the FPS genre, and various other series have long incorporated the mechanic into their titles with mixed results. With Sniper Ghost Warrior Contracts, CI Games has crafted a solid, entertaining game and its Sniper: Ghost Warrior franchise has emerged as a serious competitor.
For the record, this is my first experience with the series, and I’ve played through the first four areas (including training) of the game’s six, including starting the fifth. But I’ve put in many hours pursuing the multiple objectives and contracts on the sprawling maps. The impression I come away with so far is of a game that is eminently playable, benefits from good map design and production values, and impresses on occasion, though at the same time it can fall prey to some typical game design missteps.
To begin with, the game introduces a scenario of rebellion in Siberia, with breakaway forces declaring independence from Russia. Its leaders are a typical rogue’s gallery of self-serving brutes. The setup is nicely done but unnecessary as your role – at least in the first three-fifths of the game – doesn’t rise above mercenary taking down rebels. Up to that point, there’s no character development or emotional investment, just superficial context. Though a doubt raised by your character might presage something more.
Gratefully, the gameplay is strong enough to sustain the player’s interest and involvement. The training grounds provide a good introduction to weapons, ammunition and tools, and allows for as much hands-on practice as desired. But, of course, the real fun begins when players start their contracts. There are five expansive areas that unlock in sequence, though players don’t have to have 100% completion in each area to proceed (I think I have around 40% each), though I think all contracts have to be resolved.
Reportedly, CI Games chose to limit the scale due to the reception of the prior game’s open world. As is, each area in this game is plenty large, with multiple facilities that each contain one or more contracts and several side objectives in the form of challenges, bounties or collectibles. And in between are wilderness or roads that are dotted with patrols, checkpoints, encampments and minefields. Players are deployed in the wilderness, and can pursue each contract or objective in any order.
A HUD mini map displays tagged enemy location and movement. A larger map shows the general location of targets – when it works. Select any contract and the map will show you the area it can be found in. This is helpful to plan which facility to tackle at any given time, though in my experience it only seems to work on your first foray – such indicators disappear when reloading a mission, and can lead to backtracking. Also helpful are general locations of bounties, collectibles and exfiltration points.
Navigating each area is a fairly standard exercise. There are some situations that require the character to crouch, crawl or jump, and others marked by rope where characters can climb. Characters can kneel (crouch) or lay down when lining up a shot, which generally works fine and can help provide cover. Sometimes, however, my character will stand instead of moving while crouched. Also, windows tend to require precise positioning to pass through. Both situations can be frustrating in a firefight and near fatal.
Once players are ready to engage the enemy, binoculars can be used to tag targets. The drone also can be used for this purpose. The benefit is that tagging not only displays enemy movement but distance to target, too. The one exception is when a jamming device disables electronic surveillance, though binoculars can still note distance when in use. Players can then factor in distance, as well as wind direction and speed, to gauge each shot. Rifle scopes are helpful in this regard.
If the distance is revealed, players can calibrate the scope accordingly, usually in increments of 100 (25 on lower settings). When enemy distance falls in between settings, players need to guess how high to aim to score a hit. Another factor is wind speed and direction, which appear as an intermittent line that drops down – often in a curve – from the baseline. Targeting becomes a process of calibrating distance, adjusting vertically, aligning horizontally to account for wind, and holding one’s breath for a steady aim.
An alternative to tagging that I still can’t get to work is literally sizing up one’s adversary with in-scope measurements. Thankfully, tagging is reliable and jamming devices can be disabled with sniper rifle or drone. But players will have to avoid being tagged themselves, either by camera, spotters, drones, turrets or regular foes. Enemies will be quick to target you with rifle fire, grenades or mortar shells, and will converge on your position. That said, there are usually convenient hiding locations including foliage.
Enemy AI in general is very good. Take out enemies in eyesight of others and all are alerted, unless you quickly dispatch those who saw, too. If patrols find a body, they’ll stoop and check then alert others. They also find cover quickly, though sometimes might be partially exposed. They might peek from behind cover and can spot you with binoculars. Take a few shots from the same spot and they might zero in. Plus they tend to stay on alert for a while. And they’re good shots, whether up close or at a distance.
Occasionally the AI can fall prey to typical shortcomings or glitches. Depending on the map, enemies might seek the same cover, even if their comrades are piled up (see photo). Similarly, they might not always react to a felled comrade beside them. And sometimes you can get off two shots before they flee. For some reason, there always seems to be one enemy that ends up under the water. And there was even one who I’m pretty sure blew himself up with his own mortar (see video). But these are exceptions.
The enemies in general put up a good fight in the game, and come in varieties that include a standard foe, a heavy submachine gun enemy and rival snipers. Thankfully the game provides you with different weapons, weapons upgrades, mask and suit upgrades, tools and gadgets for overcoming each challenge. These include different sniper and assault rifles, pistols, frag or smoke grenades, tank mines, detection devices, drones and turrets, along with various barrels, scopes, magazines and mask/suit or drone/turret modifications.
A key element is the special mask your character wears, which enables increased awareness, utility and scouting. Mask mode detects nearby items of interest/interaction and is especially helpful when identifying beneficial objects or attempting to avoid hazardous ones like mines. It can also help identify bodies to loot, especially in tall grass, though I’ve found infrared works better for live or dead bodies. Upgrades can improve its range or capabilities in the same way that the suit has health or armor mods.
New weapons or upgrades can be purchased with cash and tokens. Cash is rewarded for completing contracts or challenges and finding collectibles. Bonus money can be earned by one’s performance or collected as loot. Tokens are received for finishing contract missions or challenges and collecting items or bounties. Although I’ve purchased good rifles and upgrades, some mask/suit modifications, and a drone, I don’t pursue challenges so can’t unlock higher tier items or the turret with related tokens.
All these elements demonstrate solid game design, which likewise extends to the maps of each large area, which feature multiple paths between and within each facility or location. Variations in terrain and facility layouts allow for plenty of cover and opportunities for sniping, avoiding or otherwise taking down enemies. Verticality is built in, whether different elevations or stories, including subterranean. Platforming works fine, as does stealth, though sneaking up on an enemy doesn’t always go as planned.
Speaking of, stealth is a solid option despite issues alluded to before, as well as the problem of not triggering actions on occasion when sneaking up on an enemy. But when they work, which is most of the time, stealth kills and interrogations are helpful actions, the latter yielding the locations of nearby foes. Besides foliage, there are containers and lockers to hide in, and crouching in general is a quiet means of getting around undetected while you snipe cameras, drones and spotters or distract with rocks or fuse boxes.
Side objectives like bounties and collectibles can be entertaining diversions, but the core gameplay offers a fun experience with intuitive controls. I played on the default Sniper difficulty (there’s an easier Marksman and harder Deadeye) and the sniping mechanic works well once you get the hang of it. Targeting feels spot on, hit detection is sound, and enemy AI represents a good challenge that reacts well in general without being clueless nor freakishly perfect. Item interaction, gadget use and navigation all are good.
Bottom line, I never felt cheated. My character did die repeatedly (I’m pretty bad at stealth) but the frequent hard save checkpoints kept me from backtracking too far, though on occasion I was forced to replay sections where I carefully sniped a couple dozen foes. The closest I came to frustration is one impenetrable facility where killing practically anyone raised the alarm and countdown on a contract until I avoided detection and a minefield to find the one advantage I needed.
Still I knew I had to keep poking at the defenses until I found it, though it did verge on trial and error gameplay. But this proved a good example of how the game forces players to think carefully and plan accordingly for success. Despite occasional missteps, Sniper Ghost Warrior Contracts is a solid, entertaining game that rewards patient strategy and tactics with steady progress toward one’s goals. It immerses gamers in its world with compelling gameplay and an impressive presentation.
CI Games has not only crafted good shooter mechanics, but a Siberia that is at once beautiful and foreboding. Snow-blanketed, frozen landscapes have patches of hardy foliage or concrete structures, while forested areas are lush and feature wooden buildings. Textures are detailed, lighting is dynamic, and animations of foliage and people are smooth (including ragdoll physics). Ambient and weapons sounds are good, the music is taut when necessary, and the bullet cam is well done (if gruesome).
Taken together I enjoy my time with the game and look forward to completing it. Some gameplay can feel familiar, objectives can be similar (i.e. find, steal, destroy, eliminate), and a few issues can annoy, but this is a well-crafted game in general that offers some of the best sniping in the genre and related gameplay and setting that provides an all-around enjoyable journey so far. It facilitates player choice while requiring a disciplined approach, and ultimately rewards with its satisfying execution overall.
(This post was based on a review code of Sniper Ghost Warrior Contracts for PlayStation 4. The game released November 22, 2019, on that platform as well as Xbox One and Microsoft Windows.)
(Be sure to check out additional images here: Screenshots.)
A Fisherman's Tale is a small game by most standards but it achieves more than some games that are much longer or come with big budgets. The experience it crafts is an intimate affair in story and scope that nonetheless bursts with innovation and charm, taking advantage of its virtual reality gameplay to cleverly immerse players in a thoughtful and entertaining adventure.
This game by InnerspaceVR (published by Vertigo Games) unfolds like a fairy tale, recounting for the player the story of a fisherman's puppet that existed inside a model lighthouse. The narration is told with effective amounts of awe and sentiment conveyed by a strong script and skilled voice actor, and accompanied by an art design that is simple, playful, colorful and endearing.
The prologue doubles as a training level, introducing players to a few intuitive actions that will provide the basis for the core puzzle-solving mechanic. On Oculus Quest, locomotion uses standard controls: Flick the thumbsticks right or left for respective snap turns, or move them in the direction of a point on the ground to teleport. Squeeze the grip or trigger buttons to grab an object, and use the X or A buttons to extend your hands.
Movement, targeting and hit detection are very good, enabling easy interaction that proves important in a game that effectively plays out like a series of escape room challenges. Finding itself trapped inside successive model lighthouses one day, the puppet must make its way to the beacon and light it in order to save a fisherman at sea in a storm. This simple premise sets up clever puzzles based on perspective.
Players regularly have to use objects found in the puppet's room that they find themselves in, or in the replica model-size room that they both overlook and inhabit, sometimes transferring items between the two. Reach into the model, and a giant version of you reaches into your room. The effect is akin to playing with Russian nesting dolls or losing oneself in an Escher illustration.
The scenarios present unique challenges that are both unusual and entertaining. Objects will need to be opened/closed, lifted/placed, or fetched for strange but endearing companions. Scale and perspective can shift in the process. The design of each area, which is beautifully rendered in a kind of storybook fashion that captures childlike wonder and a seafaring life at the same time, facilitates experimentation and problem solving.
Explaining the puzzles in any greater detail risks spoiling the central gameplay hook and the joy of discovery that helps make A Fisherman's Tale such an engaging experience. The puzzles in general are well designed to take advantage of the medium without being too demanding, though I did find the final puzzle a little frustrating in relation to its execution as opposed to its design.
But this could be related to my own skill or even the ingenuity of incorporating multiple perspectives in puzzle design. The game took me only 2-1/2 hours to complete but that time was spent enthralled by the distinct puzzle challenges and the fairy tale context. The bizarre gameplay was set up by appropriately surreal story elements that remind of Pinocchio and The Little Mermaid while crafting its own appealing tale.
InnerspaceVR in fact has crafted an entertaining fairy tale in its own right. The story is enchanting, dialog and voice actors inject personality and humor into charming characters, the score is lyrical and appropriately whimsical, settings are beautiful and dynamic, animation is fluid and responsive, and the core gameplay is clever and intuitive, taking full advantage of the virtual reality platform.
A Fisherman's Tale is both a delightful narrative and a captivating interactive journey that is a rare combination in a video game let alone a virtual reality experience. The short playtime is nonetheless rewarding and well worth $14.99. For the price of a movie, players get an immersive VR adventure that will transport them to an engrossing storybook world that's a thrill to visit.
(This post was based on a review code of A Fisherman's Tale for Oculus Quest. The virtual reality game released November 27 on that platform, and is also available on PlayStation 4 and Steam.)
It’s tough to share one’s impressions of a game when its strongest elements are the story and character interactions. The Outer Worlds is a solid game all around, but it presents just such a dilemma. I’ll therefore address the game in general first to avoid any spoilers, then talk specifically about what makes the narrative and characters so darn appealing, leaving potential spoilers till the end. Hopefully, many will have already read about it or watched streams and gameplay video, which should cover at least the first major story mission that I’ll discuss.
Comparisons with the Fallout series are inevitable given that developer Obsidian had created the popular New Vegas entry in the franchise. Indeed, the kind of dystopian future and ragtag populace of that franchise are on display here, once again shown off with strong dialog and voice acting, and thoughtful, dynamic dialog options for the player. Likewise, similar robust role playing options include character creation, deep inventory management and varied skill trees.
In this regard it also reminds one of BioWare games whether Mass Effect or Dragon’s Age. The story, meanwhile, is reminiscent of BioShock games with its tale of a failed society, idealistic devotees and desperate individuals. All such comparisons speak to the success of this game, but The Outer Worlds also carves its own enviable niche. The excesses and limitations of both corporate greed and individual pursuits, and the explosive and tragic areas in which they intersect, are at the heart of this space-faring saga.
The epic tale features a stirring score that hits the right notes whether during combat or in quieter interludes; imaginative art design that perfectly realizes its sci-fi/fantasy setting with futuristic structures amid inspired alien flora, fauna and landscapes (including a beautiful color palette); and an immersive world further anchored by quality ambient sounds, detailed textures and particle effects, solid draw distance, smooth animations and fluid (if sometimes exacting) environmental interactions.
The characters I’ve encountered thus far feel like distinct individuals with unique personalities and motivations. Related side quests feel more organic than contrived, and can be relatively complex, sometimes involving varying objectives or character interactions for their resolution. Of course, it’s not terribly distinctive but does fit well within the context of this particular story and universe. Especially compelling for me was the companion(s). Besides having depth and feeling three-dimensional, Oblivion anchors them in the world around you by including them in scripted and random encounters.
These surprising interactions occur regularly. Speak to another character, and that character will not only greet or refer to your companion, but might actually turn to address them and carry on a side conversation (with the camera likewise focusing on them both, which could be awkward when the character you’ve addressed ends up turning their side or back to you). Your dialog options might even include comments addressed to your companion at which point you’ll be involved in a side discussion. Random NPCs on occasion will also greet and engage in brief discussions with your companion while out walking.
This also demonstrates how dynamic dialog and dialog options can be, helping further immerse players in this well-crafted world. Dialog trees offer a range of responses, including options to persuade, intimidate, lie, etc. (which are skills that can be upgraded) and even belittle, support, etc., with a healthy dose of humor sprinkled throughout. I usually upgrade strength, health and melee or range attacks, but with Spiders’ GreedFall (in which you play a diplomat-warrior) and now The Outer Worlds, I invest a lot more in charisma/persuasion, and it’s paying off. (More on that later.)
Thankfully, I haven’t had to invest too heavily in combat-related skills or attributes. Between player controls, the time-slowing targeting system (which can be upgraded to a kind of VATS like option found in Fallout 3 and 4), one’s arsenal and companion aid, fighting creatures or marauders is manageable and fun. Targeting and hit detection are fairly precise, weapons and related upgrades (and weapons selection) provide a range of options, and companions can be set to aggressive or defensive and related commands allow for added strategy.
AI is pretty good especially for human characters. Enemies will move or take cover on occasion when under fire, though creatures tend to just charge. Depending on what skills are upgraded, foes might also cower when shot (though not for long). Similarly, players can choose to make companions draw more or less fire. And selecting the right weapon helps, such as charged for armor or plasma for flesh. There are also consumables to provide boosts. All this promotes more strategic and tactical decisions during combat.
All in all, The Outer Worlds provides an impressive living, breathing setting where players will want to spend time exploring and enjoying the intricate detail and grand elements in equal amounts. Still, there are issues, such as load times when transitioning between some buildings/areas (though it’s limited), small typeface that can make reading a challenge, bodies that can be difficult to find in tall grass (making looting a chore at times), and exacting item interaction (that requires some patience).
But even taken together, these are minor irritations at worst. I’m not far enough to judge whether or not quests, characters or foes, for instance, become repetitive, or whether or not dialog and other choices have real consequence down the line. Still, the gameplay, presentation, story and characters are so strong in the early going that they certainly bode well for the game’s longer term playability. To that end, I’ll now turn to the strongest element of The Outer Worlds – the exceptional story, dialog and player choices reflected in the first story mission.
I’ll try to spoil only as much as is necessary to share why this left such a strong impression with me without getting into details when it can be avoided. The premise is this: Your character finds themselves effectively marooned, and to leave you must retrieve equipment that, in the process, will benefit one community at the expense of another. To Obsidian’s credit, siding with either community is not a simple choice. There are pros and cons to each option. So much so that I agonized over it. Nonetheless, I found myself more sympathetic to one side’s plight as they were just trying to live free of the restrictions and dictates of the other.
Still, the other side, despite having made awful decisions, was forced into choices that varied from bad to worse due to limited resources. Indeed, I found their spokesperson to be eloquent, reasoned and practical. However, I also chafed at their rules and beliefs that codified a kind of class system. So I had made my choice to side with the free folk but was interrupted by my companion, who was skeptical and made a convincing plea on behalf of the other side. It was so thoughtful and well worded that it convinced me into changing my mind!
I didn’t just take my companion’s word for it. Their argument prompted me to revisit other considerations raised by the one side I was initially against, as there were examples that in retrospect supported their position. I still had sympathy for those trying to live free, but felt the others were doing their best with a bad situation. To my gratification, there were still opportunities to help salvage things for the formerly free folk after I made my decision. And thanks to building my charisma/persuasion, I was able to get everyone on board with my choice.
It wasn’t easy and took some shuttle diplomacy but the end result was a hard fought peace. Nevermind that the outcome rested in part on a particularly distasteful turn of events, but at least there was an option to resolve the situation in a manner that could accommodate most if not all. That it all rested on the seemingly spontaneous intercession of my companion – especially given how well written the characters and their opinions are, and how the arguments of both sides were so well balanced – is testament to Obsidian’s skill in this regard.
In this way, the first several hours of story and gameplay suggest rich possibilities for a journey that not only spans the stars but looks to plumb the depths of human existence in ways both serious and satirical. I’m hopeful the rest of the game lives up to this auspicious start and continues to reward gamers with an experience that is fun, entertaining and enthralling all at the same time. After all, studios could do worse than to model the example of The Outer Worlds, but might be hard pressed to do better.
(Be sure to check out additional images here: Screenshots.)
L.A. Comic Con always proves an interesting show, and this year's convention was no different. To begin with, there was practically a stampede for the show floor entrance on Saturday. Having attended for many years prior, this disorganized spectacle was a surprise development, though one could hardly blame attendees for being impatient.
After all, this day would showcase reunions of two Hellboy (2004) stars and The Office cast, as well as a main stage appearance by the director of Zombieland: Double Tap with a "surprise" (which, unsurprisingly, included cast members like Jessie Eisenberg and Rosario Dawson). Stan Lee's vision for a competitive local comic con keeps growing each year.
This year, being a huge fan of Ron Perlman and the original Hellboy films, I was most interested in the reunion panel including Doug Jones (Abe Sapien). I also wavered up till practically the last minute but ended up splurging on the Hellboy Photo Op with both actors, something I never do but just couldn't resist the opportunity.
The Hellboy Reunion panel was only a half hour but touched on how the actors got their parts, working together, director Guillermo del Toro, cast mates Selma Blair and John Hurt (Liz Sherman and Trevor "Bloom" Bruttenholm, respectively), and the challenges and prospects for wrapping up the trilogy. See the following excerpts and clip(s) below.
Ron Perlman: I heard of Hellboy exactly seven years before we started filming (the first) Hellboy, cause that's how long Guillermo took to get the movie made.
Doug Jones: I had not heard of the Hellboy comics, so when Guillermo came and offered me Abe Sapien he gave me the script and a pile of graphic novels at the same time and said, "Read up, and get back to me tonight." I had, like, hours to study up and say "Yes, I love it; I'll do it." and I did.
Perlman: I had nothing to do with getting the film made, I had a lot to do with telling Guillermo if he wanted to get it really made, he should stop using my name, because I was not going to get anybody to write a check of that magnitude since I was obscure and invisible, basically. But he has his quirky little idea -- these directors, they're so weird -- and he stuck to his guns and that's why it took him seven years. But it was all Guillermo versus the studios and I was basically just in the background, waiting, listening to some of the anecdotes, some of the notes that he got. ... One of the notes that he got from some really brilliant executives at Universal Studios was, "Does he have to be red?"
Moderator: Guillermo had you [Perlman] in mind, and then Mike Mignola had his character that he'd been doing since the early '90s and he also had a specific actor in mind, and they said "Well, who are you thinking of?" "Who are YOU thinking of?" and at the same time they said the same person. Is that the way you heard it?
Perlman: That's the way I heard it. I never believed it, but that's how I heard it.
Moderator: How did you guys meet on the set?
Perlman: We knew each other for seven months and I had no idea that that was Doug Jones under all that blue shit. He used to get there three or four hours ahead of me and I was there for five hours in the makeup chair, and I don't think we saw each other for real until the wrap party.
Jones: I think we brushed at the concierge level of the hotel for breakfast one day and I was like "Hey, Ron," and he's like "Yeah? Who are you?"
Moderator: How long did you shoot for when you're spending six, seven, eight hours in makeup ...?
Jones: Still film a 10, 12 hour day; 18 hour days were the norm, honestly. Hellboy 2, especially: six months in Budapest, Hungary, six days a week.
See the clips below for more of the panel discussion, including a funny on-set anecdote from Jones, reminiscing about the late John Hurt, a message to attendees from Selma Blair, the Hellboy reboot, and plans for completing the original Hellboy trilogy.
The Hellboy Photo Op afterward was a virtual rollercoaster of emotion as fans lined up early as requested, then we had to wait for about 30 minutes beyond the scheduled time. Once the line began moving, it raced at practically breakneck speed with barely time to even say "Hi" and pose. Thankfully the photo turned out okay.
I also made time to attend the Press Start: Scoring for Video Games panel with composers of titles like Journey, Flow, The Banner Saga, Assassin's Creed Syndicate, Killzone: Shadow Fall, Total Warhammer and Grand Theft Auto. They discussed their work on new games Telling Lies, Erica, John Wick: Hex, BattleTech, Disintegration and Call of Duty: Mobile. The revealing discussion included game and behind the scenes clips. See below for a link.
One standout panel I missed due to a conflict with the photo op was Storytelling in Video Games. It advertised an inside look with studio Machinegames into their Wolfenstein franchise. The casts of The New Order, The New Colossus and Youngblood were scheduled to discuss the stories and acting for these games. Director Tom Keegan was going to provide insights into the casting process of video games.
Cosplayers continue to be drawn to this comic con, and likewise continue to be a draw for plain clothed attendees. The wide variety of cosplay costumes included a female Predator, Aloy, Monster Hunter, Samus, an Endgame Iron Man, Wookie, Polaris, Thanos and Gamora, Gandolf and Thranduil, and a drag queen Deadpool. I always come away impressed with the skill on display, and invigorated by the enthusiasm. See photos below and in the Photography link.
Last but by no means least, vendors provided an equally impressive array of wares. I can often find cool, relatively obscure action figures (i.e. The War of the Gargantuas, Ray Harryhausen feature creatures, kaiju, etc.) at the Collector's Edge booth, where this year I picked up a rare Giant Robot figure. I also liked the Japanese-inspired T-shirt collection at the Baby Panda booth. But the exhibitor that most fascinated me this year was a Japanese artist whose stylish prints and T-shirts expressed a unique cultural flair.
Yasunobu Shidami displayed a variety of prints and T-shirts depicting samurai and geishas, not an unusual subject but his creativity and talent result in images that are impressionistic, dreamlike and powerful. Sometimes accompanied with messages about courage or strength, the black and white or color illustrations/paintings evoke character and beauty with a style that is breathtaking.
All in all, the show again succeeded in keeping me informed, entertained and thrilled at the vast pop culture choices on display whether in the form of panel discussions, cosplay or merchandise. It's also been a wonderful tradition to carry on with my child. Here's to many more!
For information, details and videos of the panel discussion including video game composers, visit L.A. Comic Com 2019: Scoring for Video Games Panel.
For more photos from the L.A. Comic Con show floor, visit the Photography section of this site.
Press Start: Scoring for Video Games was a panel at this year's L.A. Comic Con that included composers of titles such as Journey, Flow, The Banner Saga, Assassin's Creed: Syndicate and Killzone: Shadow Fall talking about their work on new games Telling Lies, Erica, Call of Duty: Mobile, BattleTech, John Wick: Hex and Disintegration. They were there to discuss their creative process, how they broke into the industry, and what goes into creating the music for their video games. It was an often informative, sometimes fascinating look at the process of scoring video games, and included clips of several of the games discussed. See below for a few of their comments and videos of the panel.
Walter Mair (Call of Duty: Mobile, Killzone: Shadow Fall, Total Warhammer, Grand Theft Auto) I did work with Activision before in the past on a different game and I was on the radar and just happened to be in Los Angeles because I was trying to come to LA two or three times a year. I was there, I met with the audio leads, we had a quick coffee and they mentioned [Call of Duty: Mobile] ... I hadn't heard back from them for three months, and eventually you get a phone call, an email, that says you're invited to pitch for the game and then you're up against a dozen or more other composers and then you do your best.
There's always an expectation of the fan base, which is us players, and the game directors, the audio leads, the entire team -- and everyone has a different opinion of what the game is supposed to sound like. And then of course you want to do the best, and do something different. ... Just trying to find something that's new and different or kind of unique for the franchise. So I've been doing this a lot for Call of Duty.
There's one mission in there which hasn't dropped yet, though it's been announced, it's the zombies. And in zombies, you experience a totally different kind of setting. Of course it's gruesome, it's dark, it's dirty, there's a lot of blood in there. ... And the music had to reflect that. Instead of going to add a 60 to 70 to 80 piece orchestra, I decided to just record a few instruments.
[Hear more about Mair's work in Part 2 and following parts, and watch a clip of Call of Duty: Mobile in Part 3.]
Jon Everest (Disintegration, BattleTech) I think I got really lucky with Harebrained Schemes, the developer who made BattleTech, because they kind of gave me carte blanche to approach it the way that I wanted to. I kind of said from the outset I didn't want to be too beholden to the history of BattleTech because I think it would weigh me down a little bit as a writer. So luckily I was able to take it in a direction that I saw fit the game the best.
One of the pitches for me was Game of Thrones in space, which was all I really needed to hear. I used to play BattleTech a lot when I was young. I think it does a little bit of disservice to BattleTech fans to just kind of rehash old things again and again just for nostalgia value and stuff like that so I was happy that nobody tried to murder me over the score.
[Listen to more of Everest's approach in Part 3 and following parts, and see a clip from BattleTech in Part 3 and from Disintegration in Part 4.]
Nainita Desai (Telling Lies) I started off as a sound designer on feature films and I transitioned into working for a games publisher in the UK over 20 years ago doing sound effects for video games. It was a brief period that I flirted with. ... My career digressed into writing music for film and TV. About three years ago I got this BAFTA Breakthrough Brit accolade and it put me on the radar of a lot of people in the industry, and I got this Twitter message from Sam Barlow the director/developer of Telling Lies and he said would you like to write the music for an interactive movie/video game and I thought it was a friend playing a prank on me.
For me it was a dream project because I really truly believe that the future of entertainment is this hybrid form of sophisticated narrative storytelling in video games combined with live action. ... Sam wanted someone with linear cinematic storytelling sensibilities, as opposed to a video game composer who would come at it from a totally different approach.
The role of the music [in Telling Lies] is more cinematic in terms of I use the London contemporary orchestra and I wanted to get inside the minds of these characters. When you don't have music is as important as when you do have music, and for me silence is music as well. So I decided to write a theme for each character ... In a way I had to sum up a person's character; multifaceted, complex characters in a single piece of music and that was hard. I spent 18 months working on it. It was a long process.
[For more on Desai's challenge in Part 1 and following parts, and see a clip of Telling Lies in Part 1, below.]
Austin Wintory (Erica, John Wick: Hex, Assassin's Creed: Syndicate, The Banner Saga, Journey, Flow) Erica took three or four years. It's definitely not less than three; it was a good long while. But it was odd because normally games are not so segmented into pre-production, production, post-production the way a movie is, and therefore it's just a continuous kind of river of development where you're able to participate in varying degrees throughout. But this one, by virtue of it -- also like Telling Lies -- relying on footage shot on a set with props and costumes and actors, it did have much more of a pre-production, production, post-production. So, let's say it was three years, I'd say two years of that was pre-production. So it was like, make tiny little, incremental steps and then suddenly go as fast as possible. ... The complexity of this was astronomically beyond anything I've ever attempted before so it felt like there's no time. You could tell me I have 100 years and I'll feel screwed.
Erica is a filmed game. If it's a coin, I would put Erica very much on the game side but using tricks of film. It's filmed like a movie, it thinks like a movie from a cinematic standpoint. But it definitely is a game, and a pretty sophisticated one in terms of branching narratives. There's just millions of variables that the game is keeping track of.
It almost killed me, honestly. It was the hardest score I've ever had to write in that regard because it was like something in the neighborhood of 350 cues spanning not even 90 minutes of music I think. ... The analogy I've come up with is that it's sort of like a chain-link fence where every cue is touching every other cue in all directions. ... There's a linearity of sorts but everything had to be built to be so nimble.
[Learn more of Wintory's process in Part 1 and following parts, and watch clips of Erica and John Wick: Hex in Part 2.]
For general convention coverage, including the Hellboy Reunion panel and cosplay, see L.A. Comic Con 2019: Hellboy Reunion, Cosplay & More.
For more photos from the show floor, visit the Photography section of the site.
(SEE "ABOUT" PAGE FOR LINKS TO SPECIFIC BLOGS.)