Originally published on GameInformer.com June 16, 2016, at 4:00 AM.
Selected for Blog Herding -- The Best Blogs of the Community, 6/23/16. Selected for Game Informer Newsletter, 6/25/16. 4,796 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. The first day on the show floor I was able to take in some presentations and hands-on time, and came away impressed with each title I saw: Warhammer 40,000: Inquisitor - Martyr; Kona; Forge of Empires (Arctic Age); Skylar & Plux: Adventure on Clover Island; and The Solus Project. NeocoreGames' Warhammer 40,000: Inquisitor Martyr (PS4, Xbox One, PC; 2017) is an open-world action RPG that takes place in the Warhammer universe, where the Imperium of man is in a state of constant warfare as it is besieged on all sides. Gamers play as an inquisitor -- larger than life figures that come from a variety of backgrounds and classes such as assassin or crusader (a tank type), each with their own active and passive skills developed via skill trees. Because a 40,000 game traditionally is a violent exercise with lots of blood and gore, according to the developer, gamers can expect plenty of enemies from the 40,000 universe, including all races and factions. The conflict plays out over a single-player Story Mode or Inquisitorial Campaign with drop-in/drop-out four player co-op. The former involves the story of a dirty secret from the past, the latter features a persistent sandbox with an ongoing story. Gamers are free to roam the galaxy, starting with a map of a star system and its subsectors. Missions can be undertaken from the star map and vary in type (i.e. hunt, kill all, investigation, etc.). Chains of investigations can be pursued, such as heresies or plots against the Imperium. Once chosen, missions can take place on huge planetary surfaces or spaceship fortresses, for instance. Whatever the setting, maps are randomly generated. Prefabricated elements are combined in different ways to generate virtually hundreds of thousands of maps for hundreds of hours of gameplay. Such depth is a good thing, too, since you and your foes will be laying waste to each setting. A focus on more tactical action means smaller groups of creatures and the introduction of a cover system, though neither side is ever safe as cover is destuctible. Combat also will feature boss battles. In such fights, strategy is important as targeting body parts can have an immediate benefit, such as severing arms holding weapons or wielding powers. Wear down your opponent enough and you'll trigger execution moves. Features include healing potions, overheating and reloading weapons, loot and a crafting system. There will also be special live events where the community can influence the storyline. Inquisitor is made with the fourth generation of the developer's own proprietary game engine and, although only a pre-alpha build, the demo looked pretty solid. The camera is an isometric, top-down perspective that can be zoomed in. Textures, colors, animations, particle effects and art design all were appealing. Camera control seemed responsive, movement fluid and combat dynamic, with some foes firing from behind cover and some charging. The inquisitor appeared to snap in and out of cover well, targeting looked efficient and hit detection decent. Degrading enemy cover with a barrage of weapons fire and severing the weapon-carrying arm of a boss both looked impressive, and the subsequent execution move was certainly gory. As mentioned, it looks solid at this early stage, and with the developer promising longtime support in the form of DLC and patches, Inquisitor could be around for a while. Parabole's Kona (PC, Mac, Linux; September 2016) is a first-person environmental survival game set in northern Canada in the 1970s. Gamers play as a PI investigating a report of vandalism, who discovers on arrival that everyone is gone. Like The Solus Project discussed below, it's difficult to relate the experience of playing such games without spoiling the sense of discovery that is central to such titles. But I'll try my best to avoid that pitfall while addressing the essential gameplay experience. The Kona demo unfolds at a residence in the wilderness during a snowstorm. This setting immediately introduces the element of environmental survival that is integral to the experience. Dwell too long in the frigid cold and your vision clouds as you start to freeze. Interiors, therefore, whether in a building or vehicle, become an important refuge from the elements. Still, optimum environments will have heat, such as a kind of campfire outside or working heaters inside. In this context, gathering resources becomes paramount. A limited inventory forces careful decisions about what to carry, a choice sometimes dictated by the task at hand, such as gaining access to a building/room or repairing equipment. Despite the finite inventory, the survival element encourages thorough exploration. It helps that the environment and items in it are all carefully rendered, interaction is helped by icons when nearby, and controls are intuitive and responsive. The HUD itself is clear of any superfluous clutter, and thereby avoids interfering with the game's immersion and atmosphere. On a related note, I appreciate the lengths to which Parabole has gone in creating a believable and cinematic experience, including modeling era-specific products, adjusting to glare when transitioning from indoors to outdoors, changing perspective when reversing in vehicles, or holding a road map at arm's length. Other flourishes include text appearing on surfaces when interacting with certain objects, commentary from your character when triggered, story or other information revealed through found letters or memos, and item IDs that include necessary resources to activate. Info might be limited, but a radial menu, keypad legend and vitals stats are a button press away. The radial includes access to a journal and, I think, items and settings, among others. The legend shows what is available via the keypad, including a flashlight and camera. Besides searching the environment, other interactions are likewise handled well, such as entering/exiting structures or vehicles, driving vehicles or movement in general. The environment in general is good, with well implemented snowfall and well designed interiors/exteriors. Objects are important as they're the source of key interactions, and they are well modeled and decently rendered. Surfaces on occasion can have low detail and, like similar games, object interaction at times can be trial and error, but in general this is a compelling world with an intriguing premise. InnoGames' Forge of Empires is a popular city building game in 20 languages that has amassed 42 million players. I'm not surprised given the regular commercials I've seen, but the demo still surprised with the depth of gameplay for this mobile and browser-based online game that is unveiling The Arctic Future (2016) update this year. Starting in the Stone Age it would take players about 2-1/2 years to progress through the ages up to the Arctic Age. Launched a couple weeks ago, this new area/age will feature four content sections, with the next release in two to three months, and the last two by the end of the year. InnoGames plans to release new content every week, such as quest lines given by historical figures. The Hub is a construction site that when developed can allow arctic expeditions. These will require players to choose among different classes of characters. each with their own special skills. As one explores, choices can emphasize different priorities such as strengthening troops or economies. This of course will impact whether players opt to attack or negotiate with settlements along the way. Although the game can be approached as a single-player experience, there is now an option to form guilds of up to 50 players, allowing members to share resources. Members can help each other when called upon. For instance, if one has neglected army management, other guild members can provide armies for attack or defense. Other benefits include guild expedition points, which boost overall score and level and provide individual bonuses. When engaging an enemy, a battle screen facilitates turn-based tactical combat on a grid-laid field. An automated battle system is an option that some might prefer to use against AI foes, for instance. Rewards for conquering provinces include treasure and resources, while the cost of losing is counted in resources, not cities. There is a social component that guild membership encourages, as players can motivate building so construction takes half as long. Players can see who is online and offline, aiding in requests for aid. Forge of Empires can be played on mobile devices including iOS and Android as well as on computer browsers, all using the same account with all the same in-game features so no progress is lost. Grip Digital's Skylar & Plux: Adventure on Clover Island (PS4, Xbox One; Winter 2017) was a pleasant reminder of platformers past. With its traditional but solid gameplay, interesting use of time to solve challenges, and captivating world, Skylar & Plux sparked joy and nostalgia. The first thing I noticed was the colorful, stylized world of desert landscape cut by waterfalls and rivers and interspersed with small oases of vegetation. The result is an environment ripe for platforming, and Skylar's basic skillset, at least to begin, takes advantage of it. Testing her movement revealed a typical jump and double jump at her disposal. Cushiony giant mushrooms add extra bounce, and levitating grappling hook anchors allow for long-distance swings. All practically required in modern platformers. What helps expand gameplay is the time-controlling device the duo find. When in Skylar's hands it can slow time, and when used to activate landmarks, it transforms the landscape to an early, lush setting. The advantage is that alternately it can slow floating discs that otherwise quickly and constantly flip on end, allowing Skylar to leap from one to another, or change environmental hazards like quicksand into solid ground. Time factors into gameplay by virtue of the villain's attempts to conquer their world and in the process turn it into a wasteland. That the heroic duo can harness it to combat the enemy, try to reverse his plans and hopefully obtain a measure of justice forms the basis of the story. Combat is a core element of gameplay as the duo battle the villain's minions, which at least in the demo resemble armed TVs (at least older, square TVs). Skylar's attacks involve her augmented arm and include a swipe or spin, which are reminiscent of other genre characters. Smaller enemies swarm, and larger ones are mostly stationary but fire kind of rapid-fire plasma cannons. The combat is not unusual, but it is fluid, responsive and intuitive. The same moves are useful for breaking items and obtaining crystals or shards of some kind. The only thing that took a while to learn was using time via a trigger. Though something that should be second nature, i.e. moving objects to use when platforming, admittedly took me longer to realize than it should have. Thankfully the only things that penalize players (at least at the beginning) are combat and environmental hazards such as quicksand or water. But no deaths felt cheap and generous checkpoints meant there was no frustration. All in all, Skylar & Plux appears on its way to be a solid genre entry at a time when there are few new titles and fewer still that feel like a return to classic form. The demo was fun, and I look forward to seeing more. Grip Digital's The Solus Project (PC, Xbox One; Summer 2016), like Kona, could be described as a first-person environmental survival game. Marooned on a strange planet after your starship is destroyed, your character must fend for themselves in this new frontier. The actual description of the game as exploration adventure with survival elements emphasizes the excitement of discovering a new world while keeping in mind the inherent risks that such an expedition involves. Those risks are mitigated somewhat by a handheld device that measures your vitals and environmental conditions, and analyzes objects in the world (to the extent such analysis can be made). It's a handy pocket resource to say the least. Your health can and will deteriorate for any number of reasons, including hunger, thirst, lack of sleep, injury, etc. Physical exertion, like sprinting, increases their impact, so does jumping off of high formations, apparently. The elements, which can change quickly, also can pose risks. So being aware of shelter is important, unless you scoff at the occasional meteor shower or tornado, to your own demise. Heat stroke is also a threat I ran away from (as I thought it was magma LOL). A couple peculiar effects are how eating, for instance, will repair cracked helmet glass (a sign of injury), and how your handheld can decipher markings. Otherwise most actions in this world make sense and help immerse gamers. Resource-gathering becomes paramount, though inventory is limited. Water is a necessity and in limited supply, so bottles are useful. Items also can be combined to craft tools like torches, which can light objects but also be extinguished. There are also some light puzzle challenges that might demand temporary inventory slots, like moving heavy rocks in a given setting. In fact, environmental interaction can help your progress and is another motivation, like resource-gathering, for thorough exploration. Your setting also includes organic elements, which i won't detail, though they are varied, interactive and compelling, if not always impactful. Likewise, there are not only natural formations to explore. But all contribute to the unique setting and atmosphere. To that end, this world is a fascinating one to traverse, providing a satisfying mix of the familiar and strange. The color palette is effectively otherworldly, flora/fauna can captivate, and the art design is inspired at times. Controls are well implemented, including inventory management, which is helpful given how integral it is to gameplay. Interaction can be exacting, as players have to hit a given target area, but it's not difficult. And visual prompts assist with navigating the world. The presentation overall is well done, with nice textures, good animation and particle effects, and decent sound. Plus, verbal and written communications help flesh out the narrative and move the action forward. As a game of discovery, I did feel compelled to continue exploring. All the design elements came together in a persuasive way, and promise more revelations as you progress, securing your survival and unlocking the mysteries of this strange planet. The developers gave me plenty of time to wander, and though I didn't want to reveal specifics, there was definitely enough to warrant a return visit.
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Originally published on GameInformer.com May 18, 2016, at 11:00 AM.
Selected for Blog Herding -- The Best Blogs of the Community, 5/19/16. Selected for Game Informer Newsletter, 5/21/16. 7,321 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. That Uncharted 4: A Thief's End is a solid game should come as no surprise a week after it's release. What surprised me, however, was how I spent nearly as much time tinkering with its photo mode as I did immersed in its gameplay. Of course, I might have posted more phlogs on this site than just about anyone, but still the distraction of such a mode in a game as entertaining as this speaks to the quality of the overall production as much as it does to my obsession with taking screenshots. As I've done with other new releases, I will chronicle my impressions of the game's first few hours. But this time, I'll document the experience using screenshots that were mostly created within the game's photo mode. Such a feature is best suited to event releases like Uncharted 4, as a carefully staged image can better demonstrate the elements that help set the game apart. No, the game isn't perfect, but so far in my experience it comes close. I'll avoid major story spoilers, though the images might betray some info such as characters and locations. Developer Naughty Dog is known not only for its skillful gameplay but also for its storytelling prowess, and A Thief's End continues that tradition with a prologue that serves both as tutorial as well as flashback. Like The Last of Us, the beginning provides an emotional foundation for the story that follows; but unlike that title, this sequence has the added heft of revelation related to an already firmly established video game icon. The extra layers of character development benefit from Naughty Dog's trademark subtle facial animations, lifelike body language, authentic dialog and expert voice acting. Noteworthy in these sequences are the facial expressions and earnest conversation of characters that, either due to youth or genuine concern, wear their emotions on their sleeves. A standout moment for me is when one character is being scolded. On the verge of a kind of confession, his face alternates between resignation, contemplation, confidence and possibly even defiance, while his counterpart turns from expectation to frustration, anger and disappointment. As with the best scenes from this studio, there is an entire unspoken dialog that complements what is actually said. Before establishing its reputation for story telling with The Last of Us and the Uncharted franchise, Naughty Dog was renowned for creating some of the best platformers in the industry. From Crash Bandicoot to Jak and Daxter, the studio carved its own niche with fun, entertaining gameplay that engaged players with creative level design, solid execution and fast, fluid action. The Uncharted series always has benefited from this legacy, and A Thief's End continues the successful franchise formula of balancing a strong narrative with solid platforming elements. The game's beginning seamlessly blends both in its story prologue and gameplay tutorial. Between cut scenes, players navigate the virtual world by creeping, ducking, running, jumping and climbing, sometimes with a scripted assist from an ally (above, top). As with its predecessors, movement is fluid and the controls are intuitive, including when using the grappling hook (above, bottom), which relies on L1 (deploying or up/down) and the left stick (swinging). Besides varying gameplay and level design, it heightens tension by adding another consideration to hazardous platforming segments. Different time periods not only vary the narrative, but also allow for other tutorial opportunities. Melee combat is introduced relatively early and mainly provides a defensive option in close quarters scenarios. Without a block option (that I could figure out), players are forced to spam the attack button, though depending on the opponent, that won't always suffice. At least there is a move to escape grappling with a foe. Melee increases player options, though only slightly so. However, there are a few context-sensitive moves related to melee combat that enhance the repertoire. More on those later. Cut scenes alternate with the action in a way that so far maintains a satisfying pace. It helps that no moment or conversation feels superfluous. Every character and their relationship to others helps flesh out our understanding of each one, deepens our comprehension of the story, and enhances the drama playing out. Though admittedly there are seemingly mundane moments, I enjoyed the added insights these interludes provided. In lesser hands, such moments can grate (as I felt they did in L.A. Noire, for instance -- feed a baby and cook breakfast, really?). But Naughty Dog's skill can make even these seem revelatory. With regard to the context-sensitive moves I mentioned, some involve combat with a nearby ally and can prove satisfying. During melee combat, for example, you and a comrade can initiate takedowns of common foes. Such moves can involve shoving them against walls or lifting them off their feet and body-slamming them to the ground (above). Thankfully, these happen organically without any related button presses. Likewise, in later firefights, an ally might momentarily subdue an enemy from behind, even exhorting them to "Hold still!" This is an invitation for you to shoot them. Such cooperative play in a single player campaign is a welcome gameplay mechanic. It's telling that one of my favorite moments in Uncharted 4 thus far is also one of those "mundane" interludes I alluded to. The interaction between two characters sitting on a coach, sharing a meal and horsing around is so far from contrived, so effortlessly natural, that it verges on bewitching in a series, and a game, renowned for awe-inspiring action, level design and set-piece moments. In particular, the body language and facial expressions of Elena when savoring Nathan's gaming ineptitude (assuming the player failed at Crash Bandicoot like I did) is so richly demonstrative, authentic and beguiling that I watched it repeatedly. I doubt I can add anything new to what's been written about the presentation in Uncharted 4. But among my early impressions, I have to note that of course it's top notch. The game is replete with detailed textures, a rich color palette, a long draw distance, creative and beautiful level design, varied locales, fluid animations, dynamic particle effects, deep ambient sounds, brilliantly conceived and executed cut scenes, well-staged scripted moments, and even an accessible menu interface. Only nit-picky distractions exist, the worst being a thoroughly irredeemable partner who inexplicably shouts "Oh, God! Nate!" if your character dies. At this point in the game, platforming begins in earnest. Responsive controls and quick movements help navigate ledges and handholds, while physical markings, contextual icons, character gestures and ally comments help propel the action forward without gratuitous hand-holding. Genre mainstays such as ladders and crates/carts introduce other platforming elements. Classic scripted moments created by breakaway objects or steep slides can force quick reactions, including welcome options such as steering in a slide or using the grappling hook. Platforming, of course, is a forte of Naughty Dog, and A Thief's End appears to be another feather in its genre cap. My only issue in this regard is the camera. Of course, complaining about camera issues in platformers is like criticizing stupid decisions in horror movies: It's somewhat moot given that they're practically a necessary evil, at least if you want to ratchet up the suspense and fun. The problem in games like Uncharted 4 is that varied perspectives help provide needed context for your movements, but camera swings also alter controller input thereby changing character direction. Consider how traversing poles along a wall (like monkey bars; above) can switch player perspective and, correspondingly, character direction when pressing one direction on a stick. There is an option to change the camera setting, however, I hesitate to alter it for fear of losing the context provided by alternate camera perspectives. Indeed, the process of scaling the lofty environments that Naughty Dog has so meticulously crafted, both natural and artificial, would suffer if deprived of the different viewpoints a shifting camera allows. Sure, some camera fatigue is bound to set in, and it might be more annoying in a title less well executed, but given the excellent platforming mechanic and level design this series is known for and that this game delivers early on, the overall impact is relatively minor. Noteworthy among the platforming sequences is a moment that likely will pass unnoticed by most gamers but for me exemplified the care and attention to detail that the studio has lavished on this title in general and its platforming in particular. It's my "Aha!" moment, akin to one reviewer's obsession with how realistically carpet was rendered. It occurs when Nathan is traversing a horizontal pipe while hanging from it by his hands. Instead of remaining stiff, or bending/breaking in a scripted moment, the pipe bent ever so slightly to bear his weight whenever shifting his hands. It's subtle, but effective It's a credit to the developers of A Thief's End that cut scenes can prove every bit as entertaining and rewarding as player controlled action sequences. There's not a lot more that I can add regarding the stellar animation, dialog and voice acting. However, it is also worth noting that character models are impressively rendered, contributing to the authenticity of each scene; the art design, specifically wardrobes and settings, shows creativity and attention to detail; and character interactions are well conceived, adding layers of mystery, tension and drama. All these elements complement each other and help ground the entire game in a cohesive, believable world. Shooting is introduced early in a fun, playful manner, but when it starts for real in the game world. the application of this element is as satisfying as in prior Uncharted games. Though predominantly a platformer, the series' shooter mechanic employs precision targeting, reliable hit detection and a generally effective cover system for entertaining firefights that have become a hallmark of the franchise. The only blemish is the occasional hiccup in the cover system, whether foes that easily shoot through iron-lattice barriers that are a challenge to shoot through yourself, objects that you can seek cover behind only from a particular position, or cover that your character sticks to inconsistently. Cover does degrade. So in a firefight among concrete buildings, planters, fountains and statues, the player is relatively safe seeking shelter behind objects. However, in a gunfight at an outdoor encampment dotted with wooden crates and pallets, regular movement becomes an essential strategy to avoid getting picked off behind deteriorating cover. Of course, it works both ways, so scouting opportunities to get the upper hand in these scenarios is important. That includes keeping an eye out for pickups like dropped guns/ammo, gas canisters or boxes of dynamite. When platforming, your hands are the best tool at your disposal though, thankfully, the grappling hook is a nice addition. I suppose this leaves more room in one's inventory for the varied arsenal available to you in the game. Standard weapons include pistols, SMGs, assault rifles and shotguns. The inventory has room for your pistol and one other weapon, as well as the aforementioned dynamite sticks (more might be introduced later in the game). This is more than enough, at least early on. Though making sure your ammo is fully stocked is wise. Keeping locked and loaded is imperative given that foes attack en masse and exhibit decent AI. Of course, there is an option for stealth attack to limit lethal encounters, and this works reasonably well. While I'm accustomed to being prompted for stealth takedowns, hitting the correct button when behind enemies will incapacitate them. The problem is, I'm not especially skilled at staying undetected, including in the copious tall grass that dots even urban settings. My default combat mode is therefore assault, which is a solid challenge against swarming foes. Gunmen will advance from cover to cover, firing when in transition or behind cover. If you stay too long in one spot, they'll flush you out with grenades or flanking maneuvers. One annoying outcome is how, when hanging from a ledge, perfectly tossed grenades will land right on the edge instead of falling short or over the side, though I can appreciate how this keeps players from getting too comfortable in one spot. Also, one thing I so far haven't figured out is how to dispose of bodies from lines of sight despite the game's encouragement to do so. All in all, gunplay in Uncharted 4 is well implemented as can be expected given the studio's prowess as demonstrated by prior entries in the series. Also on vivid display even during such frenetic sequences is the game's superb production values. The screenshots above, all taken in photo mode, highlight the level of detail achieved by Naughty Dog not only in the game's quieter moments but in its more intense action scenes as well. For both the action and presentation to be firing on all cylinders at the same time is a feat that is a joy to experience. Platforming likewise is a source of constant inspiration, whether the enjoyment of an activity well-implemented or the satisfaction of a well-designed environment. The combination plays out like well-conceived puzzles, though some are more straightforward than others. Speaking of puzzles, the couple I've come across also vary in complexity. Involving analysis and trial and error gameplay, their use of markings, objects, devices and elements was alternately easy and clever, and presumably will increase in complexity as the game progresses. The above screenshot demonstrates how fluid action sequences can change on the fly. One moment I'm engaged in a gunfight with the enemy at a distance in the top left of the image, the next I'm attacked from behind by a foe who took advantage of the distraction to seize an opportunity. In this case, as in others, grappling can be overcome to get the upper hand in melee combat. But it also demonstrates how constant awareness of one's surroundings can be a big benefit, or how neglecting it can be at your peril. Watch your six, as they say. In this phlog you might have noticed how I have not used all the photo mode options at my disposal. Indeed, there are a variety of filters, frames and other elements that can be used to manipulate every image. However, I preferred mostly using the Vibrant filter with a higher than average Saturation, spending most of my time adjusting camera angles (Offset, Orbit, Dolly, Roll, Field of View) for dramatic effect. In the above screenshots, I think I added a Blue hue, maybe Film Grain, adjusted Brightness (top), used Noir, perhaps Vignette, and added a Sand frame (bottom). The above sequence of screenshots show off different camera angles used to get various perspectives on the same action move. To add insult to injury, the second from top image applies the Depth of Field effect as well as Vignette to focus on the action and peril, and maybe instill a sense of vertigo. To judge by the bottom shot, yes, I did camp on that ledge awhile, letting foes approach their own doom at the hands of a patient Nathan Drake. This pull down move is a guaranteed winner, as it effectively disposes of enemies in a fun, if brutal, way. Of course, hanging on ledges is a kind of pastime in the Uncharted series. Whether platforming, including using the grappling hook to cross perilous gaps (above, top), or seeking cover from gunfire and foes that your ally dispensed with (above, bottom), ledges are ubiquitous and necessary. Thankfully, they also can create powerful perspectives to gawk at in game or in photo mode, and as demonstrated earlier are quite effective at showing off the varied settings, creative design and high production values. The piece de resistance in photo mode is capturing things that go boom! (Until I came across an enemy encampment with those lovely red barrels/crates, my opportunities were limited, especially in the middle of a firefight.) The above images, as with others here, hopefully show off Uncharted 4's top-quality action and presentation to full effect. Combined with a compelling story, dynamic characters, clever writing and all-around care and dedication to a top-tier game and franchise, Naughty Dog appears to have crafted another iconic game experience, if the first few hours are any indication. Originally published on GameInformer.com March 16, 2016, at 2:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 3/17/16. Selected for Game Informer Newsletter, 3/19/16. 4,622 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. There's a fine line between hunter and prey when your prey are predators, and walking that line is what makes Far Cry Primal so enjoyable. Forget what you know about the game, what you're expected to spend your time doing, and what the franchise has trained you to focus on. Primal is best enjoyed when playing cat and mouse with prehistoric beasts on their home turf. Of course you'd be forgiven for thinking that this practice is a means to an end, as Far Cry wildlife always has represented an opportunity to amass skill points or resources that can help secure your survival and dominance in a hostile and alien world where your main foes are people, But the experience has become so refined in Primal as to become an end in and of itself. In an intriguing, if unintentional, twist, the rival tribes of your Wenja warrior Takkar are incidental to his journey. Indeed his destiny is to become the Beast Master, a role that is not only paramount in reuniting and settling his tribe but, as it turns out, key to Primal's entertainment value. In fact, gameplay in general is less in service of the story than it is a boon to hunting and taming your prey. Don't get me wrong. Gamers can choose to play Primal like past titles in the franchise and still be rewarded with fun and compelling action, which in itself is quite an accomplishment for a game with such a dramatic departure in setting. However, it is the fascinating world of Oros, the cohesive gameplay, and the Beast Master role that combine to create an immersive kind of prehistoric hunting simulator. Takkar's journey starts with the map (above). You can search explored areas for the kind of animal you want to hunt, then find the nearest settlement/bonfire you've taken in order to fast travel there and begin the pursuit. In that regard, the more settlements/bonfires and campfires (spawn points) you can secure, the more accessible the land of Oros -- and its wildlife -- become. Note that the HUD minimap (below) is helpful for spotting predators (red pointers) that might be preying on you. It's especially useful against fast, and persistent, predators like bears and sabretooth tigers. When the former was chasing me, I could gauge its proximity and react accordingly. Interestingly, the latter seemed to spawn beside me, which explains how it often took me by surprise (though it could have been lag). The Beast Master ability is unlocked after Wenja shaman Tensay sends Takkar after a white wolf (see my previous Primal blog). However, not all tamable animals are unlocked at once, much to my chagrin when I tried to tame a brown bear too early! Other unlocks include cats (lions, leopards, jaguars, etc.), apex predators (i.e. brown bears, sabretooth tigers) and clever creatures (badgers and cave bears). The challenge of hunting and taming predators is a large part of the appeal. If your prey realizes you're on its trail, then the tables turn and your options are mostly limited to survival. So stalking predators is a rewarding if risky endeavor, made more alluring by the inclusion of rare animals like the black lion. After GIO member Uesugi shared his experience, that beast became my next prey. Too bad that cat had other plans. I was attacked and killed twice, though the second time I did let it win. When you respawn, you do so with full health and your prey with the same health it had prior to your death, but your degradable arsenal likewise is the same condition as when you died. Sacrificing yourself without a fight is sometimes the better choice, to conserve both your inventory and your prey. And you do want to keep your quarry alive, since taming is your ultimate goal when hunting predators. Also, killing a rare animal makes your job as a hunter more difficult, as you have to start your search for the elusive foe from scratch (note that their habitats don't appear on the map). All this is part of the reason that, when on the hunt, it's often best to dismiss any tamed predator accompanying you. That brings me to the cave lion (above). Cats, like bears, are usually heard before they're seen. That gives the hunter a strategic advantage. I came across two cave lions fighting and stalked the victor until I was in range to throw bait. Once distracted by the meal, I was able to sneak up from behind and tame it. The end game might be a foregone conclusion once prompted, but the pursuit is always tense and engaging. The motivation for taming predators is to help ensure your survival in the wild and your domination over rival tribes. And while hunting and taming has become an entertaining pursuit in its own right, attacking other predators and Wenja foes is made much more dynamic and thrilling with a sharp toothed pet at your beck and call. The jaguar above took the initiative against these knuckle-dragging brutes. Note how the cat flanked this spear thrower (top) while I distracted him. Sometimes you need to target an enemy and command your companion to attack, but other times (as above) your furry friend might detect a threat before you do and eliminate it on its own. Either way, this tag team approach is enjoyable and also productive as it can yield pickups, unlock upgrades and award points. And this is where game design, which the Beast Master role is meant to support, ends up supporting hunting and taming. Abilities in different Wenja skill trees improve the role, whether Tensay's various tiers of tamable animals or numerous owl commands, gatherer Sayla's Beast Reviver skill, or fighter Karoosh's Beast Rider ability. Others' skills in hunting/gathering help progression overall. As mentioned, one can progress in the story and game in general by scoring points when completing objectives, earning skill points when increasing rank, unlocking skill trees by helping or rescuing Wenja and building their village huts, and accumulating resources by regular hunting and gathering. But all activity likewise contributes to upgrading one's hunting and taming prowess in a way that feels deliberate and organic. Speaking of, the jaguar above turned out to be one of the simpler taming challenges by virtue of its presence in a cave during a Wenja mission. Already cautious as I expect predators in any Oros cave, I was able to approach this cat without being detected, fed it my best cut of bait, and earned its unwavering loyalty. Isn't the way to a man's heart through his stomach? If only rival tribes were likewise tamed. Now to the fun part. Still in search of the elusive black lion, and therefore sans any predator companion, I was scouring the hills of Oros when I discovered a Wenja held by rival tribesmen. I dispatched a charging captor by hurling my club at his head, then felled the second with arrows. But when searching their bodies for loot, I heard a distinctive bellow from the ridge below and saw a bear emerge from its cave (above). I should note that predators appear to detect and track you by scent. Earlier I'd followed instructions to hide in brush and break foes' line of sight before I was mauled by wolves (apparently that instruction only applied to rival tribes LOL). In the above scenario, even though I was on the ridge overlooking the cave, the bear inside came out and raced up the hill along a path to where I stood. Bears are tough to begin with, and take multiple shots of flaming pointy weapons to eventually bring down. But I knew better than to stand my ground against a cave bear, having lasted only seconds against one I encountered earlier during a mission. Worse yet, you won't outlast one in a footrace. So I quickly freed the Wenja and ran the only place where the bear couldn't follow -- over the ledge. This cave bear, however, was so fast and persistent that it wound its way to me in no time. Keeping one eye on the HUD minimap and watching as it quickly closed in on me, I leaped off a second ledge with the beast still in hot pursuit. I was forced to leap off a third ledge before the cave bear gave up the chase, which is a good thing as my health at that point was reduced to near zero. The bad news was that I seemed to have jumped from the frying pan into the fire as another predator was only feet away from where I landed. Still it was at least a mixed blessing as I found the rare black lion I'd been searching for. Though it was distracted by its takedown of a boar (above, top/middle), it made quick work of its prey and before long was growling at me and positioned to pounce at a moment's notice. I reached into my goody bag and quickly tossed bait nearby, but the lion only took a cursory glance at it. I knew throwing bait was a long shot to begin with since, ideally, predators should be approached for taming while still undetected. But of course I lost the element of surprise when I fell nearby, and I was desperate both to survive and to tame the black lion, so I tossed a second bait. Here's where it gets interesting. The second bait did attract the lion's interest, enough so that he approached it and appeared to begin eating. Unfortunately, at that moment his attention was broken by a cave lion that approached from the side. Once he leaped at the interloper and chased him off (above, bottom), his interest in the bait had waned and he turned his attention back to me. So naturally I tossed another bait. The lion did glance at it, but over its shoulder while it charged me! Before I could react it leaped up and swatted me in the face (above, top/middle). Then, instead of standing its ground and trying to finish me off, he retreated to his previous position. I thought maybe it was just a hit and run, but the lion did turn its attention to the bait, at which point I was finally able to tame him (above, bottom). If I recall, taming the rare black lion not only fulfilled a personal goal but likewise unlocked the next tier of tamable animals. This allowed me to pursue my ultimate objective of hunting and taming a sabretooth tiger. I'd already crossed paths with it before, usually resulting in my own demise. The only way I avoided certain death was leaping into a river (and hoping crocodiles or bitefish don't attack me instead). This time, I started out with my rare black lion in tow to first locate my quarry in its own habitat (after first fast traveling to a nearby settlement/bonfire). Part of the challenge posed by these tigers is that they're fast and relatively quiet. No telltale roars or careless gait sometimes characteristic of other big cats to give it away. By the time you know it's there, it's often too late for you. Armed with my own big cat, I ventured in to tiger territory and soon found myself face to whiskered face with my prey (above). Or was it the other way around? This sabretooth quickly attacked though at least this time I wasn't alone in defending myself. My black lion did damage with each swing of its claws while I pummeled it with heavy club attacks (above, middle). With myself near death, we managed to chase it away. Thankfully, my lion was persistent and chased the tiger down. At that point, the two had a pretty epic one-on-one battle where I stood by engrossed by the sheer spectacle of it all (above). After exchanging blows, the lion outlasted our prey and exhausted the tiger's nine lives. Of course, I failed at taming a sabretooth tiger, but achieved my immediate goal of locating a possible hunting ground within its habitat. At that point, I dismissed the black lion and hunted alone, hoping to stalk my quarry undetected. That wish was short-lived, as another sabretooth found me first (above) and was determined not to become my new pet. I think I didn't put up a fight so I could preserve my arsenal and return to this tiger's stomping grounds. After all, at this point I really wasn't a match for it and likely would die anyway. But dying to this big cat again still hurt. I did learn from my miscues and this time remembered to enlist my owl companion to survey my surroundings. Using hunter vision, the owl can see animals among other things, just like Takkar can when I have him use it. In this case, watching for fleeing herds can suggest a predator in pursuit (above, top), while a closer inspection likewise can reveal the sabretooth tiger roaming its habitat (above, bottom), in one instance with prey in its jaws! The advantage of using the owl's hunter vision is that observing your prey (or foes) locates it in relation to you on the HUD minimap. I couldn't track the tiger the first time I found him with my owl, but the second time I was able to find him with Takkar (above, top) and track him until he stopped to eat his catch. At that point, I distracted him with bait (above, middle) before creeping up and at long last taming this fearsome foe (above, bottom). A short time later and only a few feet away was another example of why the Beast Master role is the perfect motivation for hunting and taming predators in Oros. During my pursuit of the sabretooth tiger, I noticed a human settlement I wanted to explore so headed to it after taming my tiger. However, a rare two-horned rhinoceros found it first and was busy making souffle of the people in its vicinity. It was exciting to make this discovery as I had no idea such a creature even exited in Oros. I began to follow, not sure how it would react to me, but soon enough it charged though, thankfully, it only brushed past me. I think it was attacking my tiger, though in that case it's debatable who initiated the prehistorical brawl. In any event, the two fought tooth and nail, or claw and horn, until the tiger fell (above). If a sabretooth tiger was no match for this rhino, a scrawny little warrior probably wouldn't last very long, especially to judge by its previous victims, one of whom appeared to have been tossed when I first arrived. Still, my alternatives were limited so I readied a flaming spear and impaled the wooly side of my quarry (above, top) before it charged headlong at my precarious position in its path (above, middle). Thank goodness it can't alter course on a dime. I quickly sidestepped the angry beast and sprinted to the side of my ailing tiger, reviving it before I ran to a nearby tree in order to put some distance, and a stout object, between me and the rhino. When I turned around, the rhino and tiger were again engaged in ferocious combat, only this time the rhino was now engulfed in flame. Another flaming spear brought it down. The encounters I've described here help illustrate what is one of the strengths of Primal, namely, the animal artificial intelligence. Like Radiant AI in The Elder Scrolls V: Skyrim, the beasts of Oros and, to an extent, the human inhabitants all demonstrate impressive reactions to each other. There is joy in just being a spectator, though real reward in being an active participant to this prehistoric circus. No circus is complete without animal rides, and riding my sabretooth tiger was my next goal. Commanding one's tiger is great fun and makes hunting and taming it worthwhile, but riding it into battle against one's enemies is the ultimate reward. I can say that in retrospect because it proved even more fun than I could have anticipated. After securing Karoosh, unlocking his Beast Rider skill and acquiring it, I rode into danger. Much like flying one's owl, Beast Masters can steer grounded predators. Riding them thereby takes on a kind of third person perspective even though one's view is still that of Takkar's. What I mean is that the rider becomes a spectator of sorts as your predator attacks foes. In my case, I rode my tiger into rival tribesmen, who were quickly overcome by repeat clawing and even biting, I think (above). Attacks are appropriately vicious as my tiger hit, grabbed and shook its prey while I watched from over its shoulder. Not to be outdone, or left out, Takkar likewise can strike at enemies while riding. I did swing my club, and can only assume that using bow and arrow, which might be a better choice when in the saddle, so to speak, is also an option. Whatever the case, riding predators into combat is definitely cool. In conclusion, I appreciate anyone who managed the long read to this point and hope it was enlightening. For myself, I was eager to share my experience as it's proven one of my favorites of this generation. I look forward to resuming Takkar's role as Beast Master, hunting and taming all the other predators, and combating enemies whether on foot or the back of predators. Though, yeah, preferably the latter. Originally published on GameInformer.com November 27, 2015, at 1:00 PM. Selected for Blog Herding -- The Best Blogs of the Community, 12/3/15. Selected for Game Informer Newsletter, 12/5/15. 6,284 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. Bethesda wants you to survive Fallout 4's Wasteland. They've given you plenty of weapons to loot and craft, and attributes to boost when you level up. You want to survive. You use all these and V.A.T.S. to vanquish every enemy. But ever wonder what it would be like to fail? Over and over? Do you find yourself imagining what a death animation might look like? This public servant decided it was time to sacrifice the progress I'd made in the game, put my character into harm's way and show others exactly what it means to lose spectacularly and often. It wasn't easy, but I did it. Well OK maybe I exaggerate a smidge. And by smidge I mean a lot. Yes, I'm sharing my misfortune with you so you can live vicariously through me. Or is it die vicariously? In the first example, my character, Killissa (you can cut through the irony with a scalpel), was wearing Power Armor. Under most circumstances, one would be pretty hard to kill when protected by such a suit, but if you're a certified Bullet Sponge like me (thanks, trophy from Clive Barker's Jericho), waiting till it disintegrates is just a formality. The key in this scenario is to progress like a bull in a china shop, not slowing to listen for telltale signs of danger lurking around the corner, like foes broadcasting, "What was that?" Faster than you can shout "Surprise!" you'll be attacked by a handful of Raiders firing their hot lead welcome. Pray you're as lucky as I was and that one of your enemies is carrying a minigun. To ensure success, turn your back and run away, making certain to not run so far that you're safe. In case you instinctively head for high ground, consider a metal-grate elevated walkway, guaranteeing exposure to enemy fire. It shouldn't take long before a combination of ranged attacks and melee assaults takes you down (which reminds me, don't look over your shoulder for pursuing enemies). A sure way to fail is to first case the joint, figure out where everyone is holed up, then toss a grenade into the entryway. If any stragglers emerge, finish them off with a Molotov cocktail. If you're a glutton for punishment, take the minigun, finish your rounds and pick off what few foes might have avoided your initial assault. The next meeting actually takes some planning. You'll have to leave behind the ruined Power Armor, but before heading back to the wasteland, don't forget to find a crafting table and destroy the armor in your inventory that you think are spare parts but are actually equipped. This will dramatically improve how easily you succeed in not surviving. At this point, avoid using stealth to approach an enemy outpost, alerting its inhabitants of your incursion on their territory. If possible, make sure that there is a Power Armor-wearing, Fat Man-carrying Boomer among the group. That way, your puny guns are no match should you have second thoughts, especially if you remembered to destroy your armor in advance! The last ingredient is finding terrain that guarantees you will be seen and get stuck, preferably a rocky hill overlooking the camp that requires you to jump up and down in order to get around the rocks. If you can time it just right, you should be able to jump exactly when the Fat Man bomb arrives, sending you flying to your preordained demise, just like Killissa. If you chicken out, you can always pick off the less imposing foes from a reasonably secure vantage point, such as a decaying highway overpass. That will improve your odds when luring out the Boomer hulk. And if you're especially cowardly, fire your rifle over and over when he inexplicably freezes at a distance, then unload the minigun when he wises up and charges. Scavvers are not very bright but then they don't need to be if you're trying to not survive. Perhaps that's why one I came across had two automated turrets for his protection, conveniently placed side by side. Of course one can take the easy way out and approach death head-on, but where is the satisfaction in such an expedient and predictable conclusion? Despite wearing heavy armor (since the Boomer apparently soiled the Power Armor you at least can equip his impressively armored undies), you can cut short any showdown in spectacular fashion with a well-placed explosives toss. Just remember you're trying to not survive, and you won't take out your enemies by mistake. One way to guarantee you fail is to equip explosives, then in the midst of a firefight conveniently forget that you did so. Pressing the wrong button at the right time will allow you to toss your explosive right at your feet. In my case, I forgot I'd picked up the Fat Man and unloaded its nuclear payload within spitting distance. Fallout, indeed! And the Touchdown! trophy to go alongside Bullet Sponge. Should your survival instinct get the better of you, you'll equip grenades instead of a thermonuclear device and lob them from a clifftop onto the turrets below. With those automated lead dispensers out of the way, you can play cat and mouse with the lone scavver, toying with him until you scrape by in a duel of mediocre marksmanship. Mirelurks, like Deathclaws, are among the easiest enemies to lose to. Even if you try to avoid them, your trusty companion (in my case, Dogmeat) will ensure that you don't go unnoticed. With no option but to fight, the best tactic is to get in close so vain attempts at using V.A.T.S. at least will shorten your quarry's response time. Then you can either watch the Mirelurk's slo-mo windup while still in V.A.T.S. and take one on the chin, or panic and run (I was going to say like the wind, but that's insulting to air currents). I did both. The good news is that it doesn't matter, because these crab people are quick and will run you down like the fleshy snack that you are. If you have second thoughts (but still have not buffed your stamina attribute), firing away with a rifle from a distance could eliminate their threat. In theory, that is. My weakling character lacks the skill or arsenal to make mincemeat of a Mirelurk, so they are quick to turn the tables. So if you're serious about not surviving, start and end with a Mirelurk. Scavvers and explosives go together like PB & J, and can be just as messy. When confronting these foes, the element of surprise is very important. And if you go in like me, you'll be surprised often. The key is eschewing stealth so you make the most noise possible. An alert scavver with a penchant for pyrotechnics can then satisfy your deathwish. But why let them do all the work or take all the credit when you're perfectly capable of doing their job for them? After all, what's good for the goose is good for the gander. And in this regard, Fallout 4 does actually provide an assist. With no visual arc to denote where an explosive will land, tossing one is an exercise in chance. Even from a hilltop advantage, with a clean shot at a trio of scavvers below, you don't want to make it too easy. Allow them to see you, back away from the edge to avoid their fire, then make some fire of your own by planting that equipped Molotov cocktail cleanly at your feet for a seriously hot finale worthy of a scavver's respect. Of course, mistakes happen. A poorly thrown Molotov cocktail will quickly turn the scavver's gathering into a barbecue. At this point, it's not worth wallowing in self pity. Commit to the error and follow through, using the anger at your own ineptitude to dispatch the sole survivor in a gory V.A.T.S. display. At least you might experience some catharsis. Lapses in judgment can be expunged with a visit to your neighborhood Super Mutant. These green grouches are only too eager to help you not survive and, though slow, can make quick work of poor defenses. This is where a lower level and inadequate inventory can really shine as you don't mount an effective response. In this example, you do have options. You can fall down the cliff to the mutant below and, if the fall doesn't kill you, the green goliath will oblige. Otherwise, you can more carefully descend the hilltop to engage him, flee accordingly, then succumb to his lethal charms once you exhaust V.A.T.S. and your measly bullets. Both work (trust me). Despite having options, misfortune can strike at any time. If you allow too much distance between the two of you, you'll have an unfair advantage even with otherwise inadequate attributes and subpar weapons. Using V.A.T.S. to deplete Super's health and the minigun to erase the rest, you'll prevent him from giving you the satisfaction of an early demise. Some missions are made to reward you with a mercifully quick and glorious end, especially if your level is below its threshold for even a modicum of survival. One such example involved robots who, despite their charms and civility, can be a malfunctioning mess of homicidal circuitry. Such quests are a treasure trove of disaster for stubborn adventurers. This is where quick saves come in handy. By saving the game just prior to a nasty encounter, you can guarantee a repeat performance that should more than satisfy any itch to not survive. Take advantage and don't be afraid to mix it up: Use rapid fire V.A.T.S. shots with your most powerful rifle; next, a minigun; then, a combination; throw in a grenade-guns combo (pun intended), etc. Again. And again. And again. Truth be told you could replay that scenario a dozen times with different approaches but the same result, i.e. a fall from on high that does manage some variation in the style with which you exit: swan dive, back flip, somersault, etc. Not surviving in Fallout 4 is rarely as prolific or entertaining. You can even throw in the ill-placed grenade toss once or twice like Killissa to pad your exit toll for this mission. But even such a bonanza of buffoonery couldn't save it from becoming stale. At some point even the most determined to not survive will look elsewhere in the Wasteland for the next happy ending. One boon for anti-survivalists (besides the lack of explosives visual arc) is the inventory weight limit. It's kind of a cheat, but can be effective in a pinch. Just get the attention of a gunner conscript, for instance, and stand your ground even behind cover. Even should you step in and out of cover, or panic and try to escape, it won't matter because your heavy inventory will make you a slow, easy target. Of course if facing off against one gunner conscript, you might slip up and actually take them out. But don't fret, as there are plenty more foes where he came from. Indeed, the Wasteland is replete with enemies large, small and in-between, all hard-wired to do your character harm. So buck up, head out, and allow yourself the luxury of not surviving once in a while. Take it from an expert. I'll end this public service with one last but extremely helpful tip: Ignore your plentiful inventory of boosts and buffs designed to increase your attributes and skills even temporarily. These wonderful assists will only derail the enjoyment of your fragile mortality. I can't tell you how many times I've neglected to use them! Cheers!! Originally published on GameInformer.com November 12, 2015, at 7:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 11/19/15. 6,753 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. Nothing goes to waste in the wasteland of Fallout 4, and that is especially true of the time you'll spend in its open world. Bethesda's long-awaited return to the post-apocalyptic nuclear landscape feels both fresh and familiar, at least for the first six or so hours that I'll document here. I'll avoid any important reveals, but you might want to read this later if you don't want any spoilers now. Among the highlights of my play-through thus far have been experimenting with the character creation tool, sightseeing the cool retro-futuristic aesthetic, comically mishandling combat scenarios, upgrading my character and weapon, encountering the variety of interesting survivors that inhabit Boston and its environs, and housekeeping in my settlement. As you might be aware, I'm a sucker for character creation tools. Bethesda has some of the best around, especially in its Elder Scrolls series. The feature seems more robust in Fallout 4 compared with its predecessor, but that just might be the upgrade in presentation, including actually seeing your creation in action (I don't recall that being prevalent in the last game). It did seem to me that there were more options for generic faces and skin tones this time around, offering more opportunity to experiment with ethnicity. From there, individual features can be selected from a range of choices, with variations possible for each one. That said, the preset choices seemed limited, and their variations offered only subtle differences. For instance, some tools allow you to adjust the height and width of the nose's bridge, length, tip and nostrils. There's relatively less depth here. Still, there is enough range that you can create a custom character that allows a sense of ownership and immersion in the game. Ironically, although I started far afield from the default model, my ultimate creation somewhat resembled it. Part of the enjoyment of a character creation tool, especially one that allows a gratifying range of customization, is in seeing your model portrayed in the game's real time action and in its cut scenes. The Saints Row and Mass Effect series do this well, and I was pleased with its implementation in Fallout 4. Granted, sometimes the models can appear glossy or lacking texture, however, not enough to distract. The developer's knack for interactive dialog trees also makes a welcome return, providing another layer of customization to the in-game proceedings. The options, as before, suggest how your character will respond without indicating the exact dialog to follow, and could influence how the rest of the conversation will go. For example, choose sarcasm and enjoy the biting remark to follow (above). The art design, which resembles a kind of 1950's World's Fair vision of the future filtered through a nuclear winter lens, continues to impress with its marriage of sleek vehicles and equipment, futuristic gadgets and weapons, simple uniforms, post-war era wardrobes and interiors, scavenged outfits, makeshift gear and encampments, and generally inhospitable environment. What differentiates this version thus far is a more dense and colorful world, whether the forests and waterways of Massachusetts or the colonial towns you visit. This welcome setting contrasts with the consistently sparse and drab world that stood for the post apocalyptic Capital Wasteland of Fallout 3. Granted, that world was convincing, but this is more inviting, if that can be said of a post fallout landscape. The player's experience in the prologue and, as before, in the vault serve as a kind of training ground where some gameplay elements are introduced. Exploration, basic interaction, scavenging and hacking are all key elements at play. As for hacking, a holdover minigame, learning this skill will reveal story elements in the form of computer files or found audible holodisks. All of this provides more explanation and context for your actions or the world around you. Of course you can forgo some of this content, especially as story and side missions likely will unfold most of the time organically when you meet other characters. The story setup itself is pretty basic, but the characterizations and dialog create the best foundation for forward momentum besides plain old curiosity. Enemies also will test your reflexes early on, as a familiar infestation of radioactive roaches ask to be squashed by your fledgling melee skills. The action covers standard combat ground but at least tosses you into the thick of things without too much of a delay. Some have complained about the brief prologue and story setup, and indeed more depth and context would have been appreciated. On the upside, training isn't a grind. In fact, it doesn't take long before you make the transition to the surface. Despite lacking the emotional impact you might expect (and in that respect no different from Fallout 3), the prologue provides needed contrast to the aftermath of nuclear attack. But most of the heavy lifting in that department is again provided by the impeccable art design, which portrays a believably scarred world. From scorched earth to stripped or fallen trees, charred vehicles to debris strewn streets, skeletons to miscellaneous artifacts, the designers capture an existence turned upside down in the blink of an eye. It's testament to their considerable accomplishment that when crafting my first settlement (more on that later), I hesitated often when deciding whether to scrap debris for resources, as it takes away from the atmosphere of the game. Melee combat is introduced early and is a well-crafted and important part of one's strategy for survival in the wasteland. But ranged combat is the star of these games as is exemplified by the return of V.A.T.S. (Vault-Tec Assisted Targeting System). As before, this system requires action points to access so should be used judiciously. The advantage is in slowing time and allowing for the most effective target selection. The elements do not appear to have changed much if at all, but then the system performed fairly well in the prior game. Players can select from among the enemies in their field of vision, and then which specific body parts to target. The higher the percentage on any given part, the more effective the shot will be. Just don't take too long, as your slowed opponent can still get their own shots off. My character, Killissa, is no Mad Max despite trying to brand her as such. She is dangerous, but unfortunately the threat she presents is more to herself than others. Considering the source of her combat prowess, it's no wonder my hapless skill got her killed when trying to use V.A.T.S. against nearby mongrels (top), not using it when outnumbered by raiders (below), and bringing a gun to a 'nade fight. I don't know if the game's perks can save me from myself, but they certainly can't hurt, not like serial dying anyway. Leveling up bestows points that can be distributed among S.P.E.C.I.A.L. perks: Strength (melee damage/carrying capacity), Perception (V.A.T.S./lockpicking), Endurance (total health/sprinting), Charisma (persuasion/negotiation), Intelligence (experience points/crafting), Agility (stealth/action points), Luck (critical hits/rare items). My description is an over-simplification, but the upgrades available do have real (virtual) world benefits. Knowing my weaknesses, I so far have buffed strength and endurance most, with perception and intelligence next. But I don't neglect any and it's usually difficult for me to choose, though scouting the skill tree is invaluable to planning your character's development over time. The game is not without its glitches, which is unsurprising considering the breadth of content in this open world title. Many relate to presentation and hit detection though others can be more profound (more later). The first I noticed was bloatflies that clung to the air, which made them easy for picking off if so inclined. Another involved a dead mole critter that flailed about when I placed armor on top of him. In terms of presentation, I know many are criticizing game design in this department. I'm not sure if most complaints are related to the PC version, but I found the PS4 version to be well crafted. Yes, there are some glossy or dull textures here and there, but as someone for whom presentation is important as far as immersion goes, those rare occurrences did not distract from my enjoyment of Fallout 4. In general, I found the art design inspired, sound excellent (in my gaming chair, headrest speakers showed off ambient noises and directional sounds), textures detailed, lighting realistic, animation smooth (including foliage, water, rain and clouds; too-common static skies are a pet peeve), particle effects dramatic and the color palette subtle and varied. Of course, presentation means nothing if the gameplay is broken. Thankfully, the experience is solid and fun despite my best efforts to break it. Helping in this regard, in addition to the aforementioned perks, is the game's crafting mechanic, which is among the best. What sets it apart is the ability to break apart items for component parts, including when upgrading weapons, and the depth of upgrade options per weapon or article of clothing. Crafting becomes all the more integral and enjoyable when combined with the rewarding loot grinding element that offers a wide variety of items from standard sources such as fallen enemies, locked chests and safes. A companion that can effectively double your carrying capacity by storing items for you (as in Bethesda's The Elder Scrolls V: Skyrim) adds to the emphasis on building and upgrading your inventory of useful items. I believe I upgraded my pistol (adding an extension, replacing the sight, reinforcing the grip and improving the receiver) prior to an encounter with a camp of scavengers. All were on patrol, but I managed to pick off all four or five, including an attack dog, from a distance. Lining up head shots and executing nearly flawlessly, which I did, was rare in Fallout 3, when missing shots (especially at range) was common. It should be noted that enemy AI is decent, if not infallible. Firing shots did raise an alarm among foes, though they soon returned to their normal patrols. Crouched (hidden) is the best approach, as when spotted your opponents will target or rush you and in numbers if near each other. I also had one scavenger earlier who repeatedly lobbed grenades and Molotov cocktails at my higher position. Firing from the hip at close range actually proved less effective than a ranged attack, but having conventional shooting mechanics as a more viable option in general this time around, alongside the more strategic and exacting V.A.T.S., adds another layer to combat options when facing off against the many foes that attack from a distance. That category even includes creatures like the pesky bloatfly. Bloatflies in particular are a nuisance as they are prevalent, especially mobile, attack in numbers and spray you with a toxic substance. As with most foes, attacking when near can increase how effective you are, but reduces your response time. For flying critters such as these, V.A.T.S. can help slow them and line up shots. The payoff is in a satisfying, if gross, kill shot (above). Companions not only help carry items but can find them or alert you to danger. Dogmeat is my first and tried to warn me about a pack of mole creatures but I didn't listen until they were mauling us. I don't know about others, but your dog can be commanded to go, stay, follow or search. And he is fully capable on his own of killing enemies from moles to raiders or scavengers. In this regard I'm grateful to have a companion on my journey. As in Skyrim, they can assist with practical matters as described above, but the real benefit is sharing the sometimes lonely road with company. And fortunately, they can't die, at least at the hands of enemies. I did accidentally wound Dogmeat when he strayed into my line of fire, so you might be able to kill them (again, as in Skyrim). Towns are fun to explore. When I rolled into one, I thought it relatively safe as I was supposed to meet folks there. But around the corner I wandered into a raider position, including a foe that surprised me apparently from behind cover in a large pothole. Cue firefight. Likewise buildings can hide enemies around tight corridor corners. Of course, loot also abounds, so exploration can be rewarding -- and tense. Besides multistory buildings, you can also scout out entrances to subterranean paths such as sewers. In the same town I found a hatch as well as a large hole; I assumed both led to the same area, though I could be wrong (I didn't take the former route). The same caveat applies, however, as I found what appeared to be a Mirelurk corpse, at which point I turned my low level character around. On a side note, when in tight spaces and using the third person perspective, a common gaming bugaboo surfaces to torment players during combat. Camera position from behind the character can be problematic when the character's back is against a wall or object as the character or environment can then obscure the player's vision. Still, it's not unique to Fallout 4 and can be corrected with the first person perspective. Everywhere you go you'll encounter colorful characters, some of whom will require your assistance. Bethesda excels at this practice in both its Fallout and Elder Scrolls franchises, so fans will know what to expect though each encounter thus far feels different. That said, the character Preston (above) was responsible for my most significant glitch to date in Fallout 4. I agreed to follow him and his ragtag group of survivors out of town, but his entire group was confounded by a derelict car in the middle of the street. They went back and forth the length of the car but couldn't go a few steps beyond to get around it. I tried walking ahead to see if they'd follow but no such luck. I decided to take advantage of the impasse by looting a nearby building. In the seconds that took, Preston had disappeared. He was nowhere to be seen up or down the road or anywhere else. I assumed he must have teleported elsewhere, as can sometimes happen to NPCs, and worried the mission was dead in its tracks as his companions didn't move. But shortly thereafter they got around the car and sprinted ahead as if they'd fallen behind. Of course Preston was found at our destination! As mentioned earlier, the dialog tree offers various options and is fun to explore the consequences, though truth be told at this early stage there are no obvious repercussions and no major choices that I've come across. On a side note, one other minor glitch occurs when using subtitles (which I always do to avoid missing any dialog): They can get stuck so you'll experience an entire conversation with one subtitle for a participant. It is indeed worthwhile to speak with every NPC as they might have something worthwhile or funny to say, or even contribute a side mission depending on their predicament. Besides often entertaining, characters benefit from unique models and voices. The character of Mama Murphy (above), for instance, is memorable and her New England accent felt authentic. Too bad it reminded me that most so far seemed to lack a local dialect. Pleasantly there is an opportunity to try out more advanced armor and weaponry early on, though the scenario in which you find yourself can be harrowing, as befits the premature upgrade. Of course the Power Armor and Gatling gun you can equip are overpowered against relatively minor foes like raiders, but that won't keep you from appreciating how you can shred such opposition. Killissa had the misfortune of facing a Deathclaw (above) with me at the controls. As you can see, I went through about 90 rounds of ammunition without taking a step back as the creature closed the distance on me. Dogmeat's angry bark (bottom) no doubt was meant for his overconfident master, who was shortly tossed across the street. As is my practice against overwhelming odds, I ran away. OK, against most odds, I'll run away. At least from the safety of cover I have a fighting chance. In this case I used a second floor perch and the ground floor to fill the Deathclaw with lead. The problem is, he would disappear down the street in order to lure me out. It worked, and I was unceremoniously tossed again. But before I could be manhandled once more, I was able to watch the beast cut through raiders one by one. The last holdout (above) clearly was in denial, or was an eternal optimist. Well, maybe not eternal. My spray and pray tactic did succeed eventually. That is, it succeeded in quickly using up my Gatling gun ammo. Thankfully I kept rifles and a shotty in my arsenal so used them to try and hold the Deathclaw at bay. Dogmeat, too, took turns wounding it (top). I did feel bad when he crossed my line of Gatling gun fire, but thankfully he heals fairly quickly. In the end, my Power Armor was worse for wear, but we did outlast it. So far I've greatly enjoyed adventuring in the wasteland again. The successful formula of Fallout 3 has been revived with a new story, setting and characters, and improved gameplay especially shooting and crafting. Building settlements is a new feature that helps broaden player options for interaction with this iconic game world, and one that I tested for a brief spell. When at a settlement, where players can craft, concoct and otherwise upgrade items in their inventory, the option to build will be available. This allows players to move objects, destroy objects (into their component parts), or create and place objects such as furniture, equipment, fences, walls, doors, roofs or entire structures. Some, such as beds, even function to improve morale. I have to say it's addictive to tidy up the space for your new friends, especially when they are quick to use items like chairs (I even see them tending gardens, which likewise can be created). They also set about working on the settlement, including hammering and crafting, though I don't believe there is a practical impact to such endeavors. The tool kit is accessible and intuitive, though takes some experimentation. For example, moving a structure within the same space can be problematic if you've already placed other items like doors, as they don't automatically move with the structure and can then block its placement. Also, if used to storing items in a toolbox, know that you can't move it, only destroy it, in which case I don't know if the stored items disappear. That raises another issue, namely, that you can store items in a toolbox or at a workbench, but I don't think these storage options are the same as I believe their inventories vary. I could be mistaken, but that's one matter I'm unclear on. I also confused settlement building with the kind of castle-defense base mode in Metal Gear Solid V: The Phantom Pain and worried about online attack! I did calm down when I realized my mistake, but another source of angst is whether to break down objects like collapsed homes, derelict cars, burned out beds or other furniture, etc. These all provide a keen sense of atmosphere and their absence detracts from that, but players do score a lot of materials for upgrading other items in their inventory or for building their settlement. In the end, the settlement option is a nice addition to an already deep game and one that, at least six or so hours in, provides a nice and entertaining addition to the franchise. Even as a stand alone experience, gamers will enjoy the well crafted setting and deep gameplay that offers hours of exploration and action in a memorable open world adventure. Originally published on GameInformer.com August 24, 2015, at 9:00 AM.
Selected for Blog Herding -- The Best Blogs of the Community, 8/27/15. 6,165 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. My name is Voorhyym Serpensmyde, and I was the victim of a mudcrab. Truth be told, I also perished over the edge of a cliff, tackling a public event privately, and attracting mobs of angry mages/spiders/humans etc. Despite that, I love The Elder Scrolls Online. The game has distracted me from The Witcher 3: Wild Hunt (no small feat) and so far has kept me from playing my copy of Batman: Arkham Knight. What makes the game so addictive? Well, it's an Elder Scrolls game. In appearance, setting, characters, gameplay, etc., there's no mistaking the world of Tamriel that Bethesda Softworks has once again brought us to courtesy of game developer ZeniMax Online Studios. To its credit, ZeniMax has expertly crafted familiar lands of Morrowind, Skyrim and more, all encountered with gameplay that, likewise, does not stray far from formula. For the record I am playing The Elder Scrolls Online Tamriel Unlimited on PS4, and comparing it to The Elder Scrolls IV: Oblivion on Xbox 360 and The Elder Scrolls V: Skyrim on PS3. Players begin with the same robust character creation tool that has typified past titles in this series. Body build and facial features are still adjusted via forms of sliding scale that allow for a range of shapes and colors. In fact, the feature set is deep, allowing for a wide degree of latitude when sculpting one's own creation. For anyone who likes to add that personal touch to their gaming experience, this tool is a feast of customization. Curiously, it does add fuel to the fire for detractors bothered by the presentation. Jagged lines, dull textures and a dearth of detail are more pronounced in this tool early on, especially, though the same can be said of the in-game environments as well. However, the more one progresses, the presentation does eventually impress. Whether due to updates or by design, the game overall compares favorably with its predecessors. Role playing elements have featured prominently in the Elder Scrolls series and they are still front and center in this online version. I do miss the intuitive and engaging menus in Skyrim, however, those on display here are simple enough to navigate. Of note this time around is the option to purchase supplies or abilities in the game store so, for instance, the ability to craft or enchant can be bought and upgraded more easily. Playing the Templar class I have skills such as Dawn's Wrath, which is comparable to the fire-based spells in Skyrim, which I was fond of dual-wielding with a sword. Applying points earned on one's journey, you can access different skills and upgrade them. Such skills can then be mapped to face and shoulder buttons. At present I rely on two-handed melee weapons or staffs, a special melee attack, soul consuming spell, a restoration spell and a couple fire-based spells. As in prior titles, players can wield a variety of weapons and spells regardless of class. Indeed, my warrior relies so much on spells that I've applied most of my attribute points to magicka (whereas in other games including in this series, I usually buff health alongside mana). I believe my current allocations are about seven magicka points, four health points and maybe one stamina point. Enchanted armour and jewelry add further boosts to my health and magicka. Environments might not always impress with their level of detail, however, there is often a great deal of creativity and distinction to set apart each area and also distinguish this title as an Elder Scrolls game. Each area I've explored to this point has its own flora, fauna, topography and color palette that impress and entertain in their own way, whether the coast, islands, volcanic wastes, marshes, caverns, etc. Animation is also integral to establishing each setting and the overall atmosphere, and in the case of this game it is fluid and detailed. This applies to lava flows, water surfaces, flames, particle effects, body movement and facial animation. Such movement effectively brings every setting to life. Considering how important exploration is to a series like this one, and how expansive this MMO is designed to be, such design is key to a successful experience. Upgrading one's character with skill or attribute points as mentioned before can expand on combat, but the mechanics have to be solid in the first place to create a meaningful and entertaining experience. And as with its predecessors, the action in this version is well implemented. Perhaps most impressive is how responsive the controls are and how fluid the combat is online regardless of the level of activity. Melee combat is strong whether wielding a one-handed or two-handed weapon, and controls are thoughtfully mapped to controller buttons. If I recall, on the PS4 attack is R2 whereas block is the opposite L2 trigger button. Holding both can interrupt special attacks. Combined with special attacks or spells that map to the shoulder and face buttons, and a helpful HUD showing these and their cooldown, combat works like a charm. It's this ease of use that has convinced me to cast spells routinely during combat. In most RPGs I rely on brute force due to the complexity associated with conjuring, whether navigating menus, relying on alchemy or learning which spell to cast in a given situation or against a certain class of foe. Granted, potions and context play a role in Elder Scrolls, but conjuring is only as deep as you want to go. Accessibility is a welcome element that returns in this title. The ability to easily learn and upgrade spells, and wield them in one or both hands by default, is a welcome feature carried over from Skyrim. The fact that essentially the same format has been adopted for combat online helps maintain the same entertainment value present in past titles. Frankly, I don't recall if specials/spells could be mapped to all buttons in the past, but I take advantage of this configuration online and -- like in Mass Effect -- often exhaust each special/spell. Foes come in a variety of shapes, sizes and strength, and also pose different risks based on their level. This is where my mudcrab misadventure came into play, as I was repeatedly killed by some powerful little crustaceans. The problem, in part, is that the game doesn't clearly identify quest levels when you consider or accept them. So if you accept a quest then follow HUD indicators, you might find your level 2 character at the mercy of level 10 mudcrabs. Of course part of the fault is my own, as my emphasis is on exploration instead of questing, so I'll take on quests as I encounter them. And perhaps I should be more aware of character level versus enemy level. Still, it might save players the trouble of pursuing high-level quests by having such details be more accessible than buried in a menu. That said, enemy encounters are often entertaining given the myriad foes you'll face. Some attack with ranged weapons, spells or powers, some in close quarters with melee weapons or without, and some individually or in numbers, whether hanging back, advancing, darting or charging. A sometimes fatal weakness of mine was attacking solo, which on occasion resulted in my being overrun by enemies. I will also take on public events (a favorite here and in Destiny) alone if there are no other players nearby, a practice that also can be fatal. Unique to this title, and other MMOs, is the enjoyment of taking on challenges with other gamers, whether story or side missions, random encounters or public events. Fans had long hoped to explore Tamriel with others, and the opportunity now is not wasted. An example that made me laugh was when a player screamed "Heeeeelllllp!" as he raced past me on low health and chased by a persistent enemy. I helped him vanquish said foe and he went on his merry way. NPCs are a colorful lot as well, likewise featuring a range of inventive character design. The dialog and voice acting maintains the series' renown for interesting encounters, even if characters most often serve as quest instigators. They are varied enough (at least earlier on) to avoid a sense of deju vu either in appearance or voice, and the stories they relate are at least interesting and sometimes entertaining. Dialog choices do not appear to have much consequence, but do provide another layer of interactivity with the world of Tamriel. The give and take thankfully is authentic enough, and one always has the option of cutting the conversation short if others overstay their welcome. I, for one, was pleasantly surprised that these interactions for the most part do maintain the Elder Scrolls' focus on an engaging experience. As mentioned, the worlds of Tamriel appear to be faithfully recreated, and offer a huge, beautiful and rewarding land to explore, whether above ground or below. And while the overall design provides the basis for an epic experience, such an ambitious and expansive creation certainly has its share of issues that can sometimes detract from the fun but don't necessarily undermine it. Some of the issues unsurprisingly involve travel and navigation. Your character will start off on foot and, if you're like many players, will remain grounded for some time. The problem is, unless you're a horse thief, acquiring a mount is prohibitively expensive. Of course, for a free to play title, this is not unexpected as it encourages gamers to purchase one with real world money. In the meantime, expect to travel the wide open world at a relative snail's pace, a practice that's reportedly most inconvenient in the player vs. player mode where large scale battles will leave you behind. Compounding your mobility is the stamina meter, which will force you to walk once it is depleted by sprinting. A mainstay of many RPGs, and an element that should stay if only to enforce more strategic encounters, it nonetheless slows your progression. Likewise nettlesome are location markers on your HUD that sometimes confuse more than inform, as they can point you in one direction one moment before turning you around on a dime. Again, however, such issues are more nuisance than obstacle, especially when you consider how much the game gets right. Besides being a solid Elder Scrolls game, the opportunity to play with others including friends elevates this title above its brethren in the series and the genre. What helps in this regard are stable servers that can create seamless chat and fluid action with little lag or connectivity issues to drag down the experience. In my experience, questing with friends like LouBattle (above) is a pleasant pastime due as much to the technology involved as it is due to the company of such friends. Joining each other's games is easy, communicating is clear and consistent, and gameplay remains responsive and fluid. There might be the slightest intermittent lag when in a crowded hub town or city but it's rare. Plus the ability to create guilds and share loot via guild banks is appreciated. Teaming up even with strangers while on missions or during random public events also is entertaining, especially if enemies are a higher level. If I remember, each participant can reap the rewards when undertaking the same mission, even if together by chance and not design. However, when exploring and looting locked chests, for instance, the contents go to the quickest thief as the chest then disappears for a time. There are plenty of generic helmeted soldiers to fill out fortresses, towns and encampments, however, as mentioned there is an impressive range of other NPCs to provide variation, and an equal amount of attention paid to create unique settings for them to populate. Add to that the deep character creation tool, and a kind of workbench for customizing the color of your wardrobe, and this Tamriel is colorful and alive. But this world is also alive with glitches that can be at least amusing and on occasion annoying (more on that later). An interesting graphics hiccup exists when other players' characters don't load completely, resulting in shadow figures roaming the landscape. With so many gamers playing at the same time and taking into account their respective online connections, it's a wonder that interactions can proceed as smoothly as they otherwise do. Sometimes it's difficult to know if a glitch is really a glitch. Bears, for instance, are a common sight whether lumbering around or asleep. On one occasion, however, I saw two polar bears together and they appeared to be, well, mating (above). But the bear below appeared asleep and the one above soon fell asleep in the exact same spot and position (so there appeared to be only one bear). Weird. As with any robust RPG, clothing one's character can help differentiate it from others. Of course, armor is usually more a factor of protection than aesthetics, with enchantments thrown in for good measure. Thankfully as in past Elder Scrolls games, there is a large variety of pieces to choose from and the interface for comparing items is fairly intuitive. Still considerations are often practical in nature depending on what characteristics one wants to reinforce. My choices usually emphasize armor strength, though enchantments such as boosts to health or magicka factor in to my decisions also. The same is true of the arsenal I carry, where damage and/or enchantments (flame, frost, poison, etc.) dictate what I carry. And as with my wardrobe, the variety of loot or merchandise allows for a high degree of customization and ensures that likely no two player controlled characters will be alike. With such latitude in wardrobe/armor selection, it's a treat to watch your character evolve over the course of the game. As in past Elder Scrolls games, obtaining actual armor (in particular heavy armor, especially a suit of armor) is immensely gratifying. And while I've never spent time crafting my own armor, that is an option and I'm sure those that do take pride in their achievement. Whatever armor one acquires and equips, an extra element of customization is available in the form of a color workbench that allows one to further alter their character's appearance. This is a new feature and one I really enjoy as options seemingly cover the entire spectrum of colors and apply to practically every piece of one's wardrobe. One can't underestimate the value of choice in personal appearance, especially in an online game. Of course players can't control their environment for the most part, though problems -- whether by design or unintentional -- typically are benign by nature. I can't count, for instance, how many times in RPGs that I've seen characters who appear to pantomime around a table instead of actually sitting or standing around it. Who knew they had a sense of humor and of the surreal? Regrettably, though not unsurprisingly, I have experienced glitches that did interfere with gameplay and one related game-breaking defect. During one mission, I began to take damage but couldn't see my assailants (whom I presumed were attacking at range). Then I noticed allies who were engaged in sword fights with invisible enemies, and realized mine were likewise imperceptible, except for the injury they were inflicting, that is. Instead of standing my ground at a clear disadvantage, I fled my attackers and ran toward my objective, which was a character I needed to interact with. Thankfully, my foes didn't pursue the entire distance but their lack of commitment didn't matter as the character I sought didn't materialize. The prompt to speak with her appeared, but she did not, leading to an impasse where my only option to progress was to quit and reload my last save. My character is currently level 12, I believe, so I've put in more than a few hours. At this point, I can say that despite the occasional glitch, I am very impressed with the fidelity of this title compared with past Elder Scrolls games. The fact that ZeniMax was able to craft such an apparently faithful adaptation for online gaming, and ensure such a reliable experience courtesy of its servers, is an achievement worth celebrating. Perhaps expectations were low given the original pay to play format and PC-related issues, but given the desire of the Elder Scrolls fan base for a cooperative (and competitive) platform I think gamers at least were hopeful that the experiment would work. And as far as this fan is concerned, the ambitious project has turned out remarkably well. From presentation to gameplay to overall execution, The Elder Scrolls Online is a journey very much worth taking. Originally published on GameInformer.com June 22, 2015, at 8:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 6/25/15. 6,686 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. My second day at the Electronic Entertainment Expo involved testing gaming equipment, checking out a few indie games and talking about Extra Life with its founder. The first stop was Logitech's booth, which was set up with racing equipment. Steering wheels, pedals and a shifter were all connected to chairs and hooked up to TV screens. It's the kind of layout I wouldn't mind having in my make believe man-cave, provided I knew my way around any hairpin turn. I am an arcade racer so testing equipment on a game with any semblance of realistic handling is a dicey proposition. The Logitech G29 Driving Force racing wheel was set up to play Driveclub, I think, and the sensitive mechanics assured that separating my poor skills from the game or wheel's design would be a challenge. At first I was careening into walls or spinning out of control, and too often over-compensating out of a spin. How much to attribute to my skill or unfamiliarity with the software/hardware, the game's sensitive controls or the wheel's precision handling was debatable. Thankfully, I was able to improve with practice though still lagged the competition. In the end the game did seem overly sensitive, at least for me, but that's not unlike my experience with some sim racers. Combined with my skill level and a lack of in-game driving assists, most of what went wrong likely could be attributed to the software or me. As far as the racing wheel, the dual-motor force feedback action was on full display, especially during sharp turns whether I wiped out or managed to stay the course. The sharper the turn the more feedback, especially during spins or when fishtailing as the vibration suggested wheels locking up or losing grip. The intensity of the feedback at times was in contrast to the sure grip I was able to maintain on the wheel, which not only had a comfortable design but benefitted from the hand-stitched leather rim. In time, using this in unison with the stainless steel throttle, brake and clutch pedals led to a more controlled racing experience. Unlike some controls, the challenge was in using the throttle and brake pedals simultaneously, depressing one while easing off the other and vice versa. If there was any obvious issue with the equipment, it was the positioning of the pedals, with the clutch, brake and throttle in sequence from left to right. This meant that I had to angle my left foot over the center pedal while my right foot was on the right pedal, and their close configuration added to the awkward position. Otherwise, once I got the feel down, the experience went more smoothly and I felt the wheel performed just fine (having never used one before, I can't compare to others past or present). The Logitech G29 Driving Force is expected to release in July for a suggested retail price of $399.99. My next appointment was with Daedalic Entertainment. The publisher, based in Hamburg, Germany, was spotlighting several new PC games from its roster. Valhalla Hills, a god game developed by Funatics, was the first title to be demoed, by producer Johannes Kiel, at Daedalic's booth. The action takes place in a Viking civilization made up of randomized islands that are populated with AI-controlled Vikings. Players indirectly control their fate by helping them walk to a portal at the top of each island that will transport them to heaven (since they are otherwise prevented from entering Valhalla). Challenges include building roads to the portal, creating campfires along the way, building mills and bakeries to make bread, digging mines, erecting hunting lodges, establishing military camps, and producing caravans between outposts. Vikings can be personalized, with scores of different looks. Axe men and bowmen can be ordered, Jobs can be requested or assigned, such as defending against wolves or huge frost monsters. And once a profession such as woodcutter is unlocked, it is available on the next island. When Vikings reach each portal, it opens a new, different island. The brief demo of Valhalla Hills showed off solid presentation values, with colorful features, quality animation and particle effects and decent interactivity. Anna's Quest was created by Dane Krams and developed by him and Daedalic. It is a point-and-click 2D style adventure game that is inspired by dark European folklore along the lines of Grimm fairy tales. The emphasis is placed on dialog and a deep story, which is infused with dark adult humor. The story itself involves main character Anna, who is on a quest to cure her ill grandfather. However, along the way she is captured by a witch and experimented upon. Those experiments result in her acquiring telekinetic abilities, which can aid her when crossing paths with the game's monsters, including nymphs, trolls and dragons. Anna's Quest released July 2 on PC and Mac. Corbie Games developed Bounty Train, which involves a variety of gameplay related to assembling and controlling a train. The studio's general manager, Yurij Ishchuk, demoed the game. Train operation takes place during the era of the American Old West, though travel includes cities such as those in the Northeast (Boston, New York, etc.). Players are responsible for delivering cargo, trading goods and overcoming challenges like chases, ambushes and malfunctions along the way. A lot of research into specific details and statistics helped form the foundation for the game, from how much coal is needed to operate the train to historical events of the era, which can be impacted depending on when your train arrives in a city (including the possibility of saving Lincoln from assassination). How well you succeed depends on your preparation. In train stations, you can add or swap out carriages. You can also gather and manage your crew, which can level up or be upgraded. Taking a doctor and a healing carriage might help, or adding a cannon or Gatling carriage. But you also have to consider carriage weight, which can slow the train and increase travel time. In the train station, inventory management menus appear well designed, allowing for easy train and crew control, whether working in menus or between them. Likewise, train operation in the countryside seems functional, with point-and-click gameplay in combat scenarios such as ambushes. But be advised that your crew risks permadeath in such situations, though members can later be replaced. The Bounty Train demo ran smoothly, displaying nice graphics, smooth animation and responsive point-and-click control and interactivity. The sheer variety of gameplay options (including dialog choices), the level of detail, and the simple but deep inventory management all show promise. Steam early access should be available soon. Skyhill is a rogue-like survival game developed by Mandragora. Players assume the role of a millionaire whose Skyhill Hotel penthouse includes safeguards that allowed him to survive a virus unleashed by biological warfare. Gamers can explore the hotel's 297 rooms, which cost health points to enter and can include monsters (of which there are 10, each with different looks). Combat also diminishes one's health, so movement and action both have a risk/reward element to weigh. Crafting and sleeping also factor in to gameplay. Rooms and enemies are randomly generated, so no two playthroughs are the same. Three different endings also encourage repeat playthroughs. Gameplay resembles a 2D side-scroller, though progress is from top to bottom via an internal stairwell, with options to move side to side when entering/exiting rooms. Combat appeared a simple hack and slash affair, though might vary. The presentation was solid overall. As I was walking the show floor between appointments, I found a unique piece of hardware that made me stop and take notice. The Gamevice is a relatively large handheld device that looks like an oversized console controller. It features a large screen in the middle and otherwise traditional controller design to either side. I was encouraged to try it out and found that it indeed had a familiar feel to it, with each grip featuring an analog stick and twin triggers. A directional pad on the left and four-key configuration on the right completed the standard design, with the exception of the wide screen separating the two grips. I forget the game that was loaded, but the presentation was good and the action fast and responsive. The familiar configuration allowed me to get into the game right away, and the relatively lightweight design and comfortable grips and controls placement made transition from consoles easy and fun. Perhaps I should have assumed that the controller held an iPad mini in between its grips, but I was surprised to find that that was the case. My gaming session was fairly flawless and devoid of any lag, which was important playing the shooter game that was installed on the tablet. The interface needless to say worked well. Gamevice is promising tech. Last but by no means least was my conversation with Jeromy Adams, founder and managing director of Extra Life for Children's Miracle Network Hospitals. Jeromy was focused on milestones that the movement is regularly crossing. In this, the eighth year of Extra Life's existence, a small fraction of the gaming world (Jeromy suggests as little as 0.1%) is on track to raise the most money ever on behalf of related hospitals. About 100,000 participants are expected for the Extra Life event this year. Each year over the past three years, about $2 million was raised. Because of the organization's commitment that the money stays local, as much as $400,000 per year is contributed to some hospitals. Also thinking locally, there are now guild programs in 54 cities, meaning physical chapters that can do the work of local recruitment. Twitch is now also an official sponsor, in addition to the participation of teams from companies such as Ubisoft, Treyarch and Reddit (as well as Team GIO, representing gameinformer.com). So far, 1,700 teams already have signed up for this year's event. And some companies are offering donations such as game codes (Team GIO has auction items and participation prizes each year). Jeromy expects 2015 to be humongous for Extra Life, saying that this is the year to get involved. November 7 is the date of the gaming marathon fundraiser to benefit children's hospitals, which coincides with setting clocks back for a full 25 hours of playing games in order to heal kids. He also notes the flexibility of the fundraiser. Gamers can make up the time any day(s) of the year, can extend their marathon or can choose to fund-raise in some other fashion. The book is closed on old school thinking related to fundraising -- what's important is doing what one wants to do to help kids, especially if that makes one happy in the process. Extra Life began in 2008 as a way of honoring Victoria Enmon, who lost her battle with leukemia but inspired the gaming community with her courage and perseverance. The momentum that the movement has had ever since is a tribute to her, children like her, the hospitals that care for them and the generosity of gamers everywhere. "Tori's legacy won't stop," says Jeromy. There was also a Bethesda Game Studios panel related to Fallout 4 that I attended for all of about 15 minutes before heading to an appointment. In attendance (L-R above) was Game Director Todd Howard, Lead Designer Emil Paglianulo, Lead Producer Jeff Gardiner and Lead Artist Istvan Pely. Part of the early discussion involved the level of detail that they lavished on the project, beginning this presentation with an image of a control board down to labels for the buttons. The subsequent concept illustrations showed off the creativity of the artists and the designers in general. But what topped off this year's event for me, and thrilled me more than seeing such luminaries as those above (including Steven Spielberg, whom I got a fleeting glimpse of), was my meeting with our very own Saint (Rich Dickinson, above). Longtime member and de facto Community Manager on gameinformer.com, he's been an inspiration to me. Besides my admiration for his service as a naval officer, his contributions in service to our community have been incalculable, including starting the important Blog Herding weekly feature and the unofficial Member Herding blog. But his humble demeanor, commitment, enthusiasm and, above all, encouragement and support is what have most impressed me. That wraps up my reporting from E3 for this year. Thanks for reading my blogs, and supporting the community! Originally published on GameInformer.com May 20, 2015, at 7:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 5/28/15. 5,822 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. I've long felt that The Witcher 3: Wild Hunt could be one of the best games of this console generation. Since seeing the demo nearly two years ago at E3 2013, this has been my most anticipated game bar none. Its predecessor was a compelling game with many great qualities but a few issues, however, CD Projekt RED had helped assuage those concerns. To judge by my initial impressions, the final build does appear to enhance already strong features and at the same time improve areas that were less refined in The Witcher 2: Assassins of Kings. As with any game, there are still problems, but thus far in my play-through they are minor, even nit-picky. At every turn I am impressed, and eager to continue the journey. The game begins with a storyboard review (above) of the current situation. This sets a powerful tone, as the art design throughout is superlative and the dialog and voice acting are top notch. Granted, I've only played maybe a couple hours thus far, but no two voices are alike, and accents are varied. Narrative, as in the prior game, appears to have some depth. As before, a backdrop of military conflict and a monstrous scourge provides the context for events impacting main character Geralt, who begins in search of his love Yennefer, though the fate of his ward Ciri is also in doubt. I'm not entirely clear of the timeline, especially the opening narrative, and Geralt's story takes place in the present and flashback (though that transition sometimes shows real flair). Assassins of Kings had its share of adult situations, and Wild Hunt is no different, beginning with a suggestive flashback between Geralt and Yennefer. I appreciate the more adult content, but what immediately impressed was the high production values during gameplay. Again, art design is imaginative, showing interesting Middle Eastern and Eastern European influences, among others. What most impressed, however, was the meticulous craftsmanship, whether detailed textures on all surfaces (marble floors, wood furniture, stone masonry, etc.), dynamic particle effects such as the dancing flames and rising embers in a firepit, or other effects such as how shadows cast by the fire move in response. Even wind-blown trees impressed, in particular when seen through textured glass windows. Character animation nicely complements the quality voicework, where facial expressions convincingly convey emotion. Body movement likewise is fluid and natural regardless of activity. Ambient noises help establish every scene, and the lyrical fantasy score -- whether utilizing strings, a piano, or both -- goes a long way toward creating the right atmosphere. All such design elements help set the stage for key gameplay moments whether they involve dialog or combat. As before, gamers can choose their responses during conversation, and varied choices ensure different reactions or outcomes. I have yet to make a consequential choice; however, even small reactions, like peeved bar patrons or gratified beneficiaries, are satisfying. Most features are welcome next-gen upgrades to elements that were already well implemented in the prior game. But combat, for me and some others, was the biggest hurdle to fully enjoying Assassins of Kings. While this activity was not poorly designed, it was more cumbersome and less intuitive than it could have been. This could have been due to the controls or how training was integrated into the game. I'd been told that once gamers journeyed beyond the training, Assassins of Kings became a much more rewarding experience (much like Metal Gear Solid's VR training missions are reportedly more difficult than story missions). Indeed, I struggled plenty in the confines of the combat arena, but out in the open world, fighting was less intimidating and more satisfying. (Though I think that had less to do with training than, again, design.) Here is what I'd said about arena combat in Assassins of Kings: "The lock-on mechanic (hold trigger) is OK when faced with one, but any more and I forget to release and relock, resulting in my swinging at fallen foes or, worse, air while getting slashed in the back. Then there are all the spells, traps, bombs, daggers, etc. "Basically, I was holding one trigger for lock on, the opposite one for block, I think, maybe a shoulder button for the items menu, the analog stick to select one, another button to equip and upon release of some of those, pressing a last button to cast, deploy, hit, parry or dodge. "By the time I did all that and read accompanying descriptions I have yet to familiarize myself with, I either had been skewered by approaching foes or singed by a fireball. Then lather, rinse, repeat if wanting to equip a different item. It’s no wonder I spent most time running away just to create enough distance for inventory management." So what's changed? For one, what felt like a two- to three-hour training symposium (a portion of which covered combat) has been better integrated into the game, so that training opportunities happen organically depending on what you're doing in the open world (i.e. no more combat arena). More importantly, a few design changes help streamline combat. As in my description above, locking on to a foe before involved holding down the left trigger button (Xbox 360). When attacking the same enemy with a sign (spell), the sign menu had to be accessed by holding down the left shoulder button. This restricts combat options on the fly, and exposes one to attack, especially since combat is only slowed while using menus, not stopped. Now, one simply presses R3 (PS4) to lock on to a foe. Also, there are other options available via face buttons. Besides parry and dodge, one can now also roll (X), so a total of three defensive maneuvers are at one's disposal instead of two. Likewise, two consumables can be assigned to the directional key pad, as opposed to one mapped to the right shoulder button (360) before. Whether more controller options or a more streamlined tutorial or both, the combat learning curve this time around is significantly less dramatic. Plus gamers are given a choice of difficulty setting to begin instead of being assigned one based on the outcome of the combat arena. Overall, I've found game design in this regard to be more accessible and welcome. Sparring against Vesemir (above), and then confronting enemies in the open world, is a much more efficient and user friendly introduction to combat than confronting increasing waves of foes in the previous game's combat arena. As before, combat thankfully is fluid, whether transitioning between parry, dodge, roll, strong attack, fast attack or casting signs. Unless casting the same sign in any given fight, however, sign selection can prove the one impediment to an otherwise fluid combat experience. Changing signs still involves inventory management and, as before, accessing the sign menu only slows combat instead of stopping it as in most other games. But this design just requires more strategy on the part of the gamer when choosing between Yrden (magic trap), Quen (shield), Igni (fire), Axii (minds/distraction) and Aard (telekinetic blast). Exploration continues to be integral to gameplay, and shows off Wild Hunt's spectacular production values and dynamic settings. For this version, horseback riding and swimming are well implemented into the options available for traversing the world. So far both control nicely, reminding me of the same options in other titles such as The Elder Scrolls V: Skyrim. As in that game, fast travel is also available. Horseback riding, for instance, can be done at a gallop. An extra nice touch is being able to hold down the action button (X) when on a road to automatically stay on that route and avoid using stamina. Also important is the ability to wield one's sword and engage in combat while on horseback, which too many other games avoid; though it can be less effective as I found when trying to fend off a pack of wolves. When riding horseback, I encountered one of the few glitches that I've experienced in the first two or so hours of gameplay. A road through a gaseous swamp was blocked by an invisible barrier, forcing a journey through the harmful swamp until I realized that making my horse jump was enough to overcome that obstacle. It created momentary frustration but was thus far a rare problem. Since I'm on the subject of glitches, the only other problems of any significance included a repeated framerate stutter at the beginning of one scene, though thankfully it did not interfere with any exposition. Also, while near the entrance to a Nilfgaardian camp (below), someone came next to me and bent down to pickup an object that only materialized when he showed up. These were exceptions, however, and relatively minor. Swimming is fairly intuitive as it controls similarly to many other games. Dive and surface are both mapped to face buttons, as are a fast swim option and action/interact to gather items from the bottom of various bodies of water. A standard breath/air meter helps you monitor your time spent underwater and avoid drowning. As with other settings, bodies of water, including river/lake beds, are well conceived. The farther one journeys, the more an appreciation grows not only for the variety of voicework including accents that each character demonstrates, but also for the breadth of character models and personalities encountered along the way. Though only a couple hours in, each person feels unique, populating this world with convincing individuals and groups of people (the Nilfgaardians, for one, having a distinct dialect). It's simply one more example of the meticulous attention to detail that CD Projekt RED has lavished on Wild Hunt, and one more indication of why delaying a video game, if necessary, can help construct a well designed and consistent but varied world and gaming experience. Sure at this point I've only scratched the surface, but I'm nearly as far as I was into Assassins of Kings and already am impressed with this sequel's quality. I hope to have more on my experience as I continue the adventure. I had very high expectations for The Witcher 3: Wild Hunt, and they only grew over two years' time. So it's that much more impressive that CD Projekt RED pulled off such a rewarding experience. If I had a next gen console at the time, I would have preordered the Collector's Edition, as I usually do when I expect a game to be great and appeal to me (as I did with BioShock, Gears of War and The Last of Us). However, because I obtained a PS4 late, I missed out on preordering the Collector's Edition for Wild Hunt. But that didn't prevent me from searching high and low for a copy on Tuesday. Thankfully, my search paid off as I found seemingly one of the only retailers in LA to carry a non-preorder copy and undertook the 20 mile round trip to secure my purchase. And like the game, the high quality contents don't disappoint. Thanks for reading, and please share your experiences or any comments below! Originally published on GameInformer.com May 13, 2015, at 7:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 5/21/15. Selected for Game Informer Newsletter, 5/23/15. 3,915 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. First person shooter games can be victims of their own success, with franchise titles sticking close to formula and others hoping to mimic their good fortune. There's no question the formula is addicting, having earned my allegiance for several generations. But my interest began to wane with last gen titles, so I was curious to see if this new gen could help restore my flagging enthusiasm. I was a longtime fan of powerhouse series Call of Duty and Battlefield, but my devotion peaked with Modern Warfare 2 and Bad Company, respectively, having achieved the highest rank in competitive multiplayer (without prestige). Likewise I lost interest in beloved Killzone after the sequel. But I wanted to give Advanced Warfare, Hardline and newcomer Destiny a chance. Destiny has presented the most unique experience by virtue of its adopting elements from massively multiplayer online and role playing games. The closest comparison I can make is with last gen's MAG, having been a beta tester on that shooter, which boasted up to 256 players in a competitive Domination mode match. But Bungie's MMO/RPG hybrid is a decidedly different animal, engaging fewer players in cooperative multiplayer combat against waves of AI controlled foes. Indeed, its public events bring gamers together to attack common objectives and is one area where this shooter excels Granted, this is similar in practice to Gears of War's Hoard mode, Call of Duty's Zombie mode or other variations on the theme. What's different is that these events are not a dedicated gameplay mode but arise during one's journey and are completely voluntary exercises that anyone nearby can participate in. The thrill of joining forces on the fly against a common enemy raises the bar, though this, too, is not unlike drop-in/drop-out co-op options in otherwise single player games like Borderlands or Dead Island. And true to form, Destiny is best played cooperatively, whether with friends or strangers. But to its credit, especially for an online-only game, Destiny can be played solo (at least as far as I've gotten). To that end, controls and gameplay are solid, whether targeting, shooting, hit detection, movement, etc. Movement, in fact, is a key component of what makes this game fun to play. A jetpack expands gameplay into a vertical theater to access loot or gain a strategic advantage over enemies. Such design encourages players to consider alternate routes regardless of the situation and rewards such navigation. I've actually come to rely on it when scouting new areas for loot or combat options. Loot grinding plays a role in this shooter, as it's one means of obtaining and upgrading materials or weapons. The upgrade system itself is solid, though loot is regrettably rare. Most pickups involve ammo dropped by fallen foes, but crates or chests of gear are not a common feature. But then perhaps I'm spoiled by Borderlands! Still, your arsenal and pickups allow you options when confronting foes, which mostly are ranged opponents but also include melee alternatives. This is where upgrading your character helps as, for instance, using the Titan's Fist of Havoc can clear out nearby melee foes or significantly deplete a boss's health bar. Criticisms that Destiny is repetitive are warranted, as you fight off enemies at each objective then secure the last goal against waves of attackers. Likewise the story can be unsurprisingly shallow. However, it's still a fun experience, using well designed maps and enemies to establish a strong fantasy element and add verticality to solid shooter gameplay mechanics. The fact that each mission provides a balanced solo or cooperative experience enhances its playability, and the art direction and amazing score provide a compelling context for the action. And I haven't even played the Crucible competitive multiplayer mode. All told it did keep me playing awhile -- to about level 16 -- and I will return to it in the future. If you're familiar with the Call of Duty franchise then you know what to expect from the Advanced Warfare entry. Overall the game features the same solid single player experience with quality shooting mechanics, impressive presentation and jaw dropping set pieces, and competitive multiplayer still features excellent map design, deep customization, a wide variety of modes and frenetic run and gun arcade action. Noteworthy changes for me with this release are the setting and exoskeleton. The single player game introduces you early on to the new reality of advanced security measures and countermeasures, including towering mechs that climb over you into a firefight and drones that attack en masse. The multifaceted exoskeleton, common to both solo and competitive modes, likewise is unveiled from the beginning. Default abilities allow for launching to otherwise inaccessible heights, soft landings when leaping off high ledges, effortlessly traversing wide gaps and dodging quickly from side to side. These are necessary offline but add important tactical options when competing online against similarly equipped human foes. The exoskeletons also can be augmented with additional gameplay features. I usually spend most time playing online, so tried Domination, Search and Destroy and Capture the Flag modes. All are typically engaging and well designed, but I enjoy Domination best so focused on that. To its credit, Sledgehammer Games maintains the quality gameplay, but in fact ups the ante by supplementing player movement with the exoskeleton. The way that the exoskeleton opens up gameplay in simple yet dramatic ways cannot be underestimated. While the series' maps traditionally allowed for multiple paths and even elevated vantage points, introducing vertical access points and fluid movement between all access points makes the arcade experience that much more exhilarating. This is true whether assaulting an enemy position or securing an objective. The thrill of approaching a foe from above undetected or, conversely, the anxiety of protecting your position from assault at any angle creates a more exciting scenario than traditional gameplay allows. Encouraging such strategy is a challenge, but when controls are this intuitive, the transition is an easy and fun choice. As with Destiny's jetpacks this concept is not entirely unusual, but added to the franchise formula and offering gameplay options outside expanding movement, exoskeletons do create a fresh take. On the downside, scorestreaks can be imbalanced, as the series' killstreaks had been, and spawn camping still can plague some maps, but both are less obtrusive here. I have not done a deep dive into the campaign, and cooperative multiplayer likewise was not explored very far. However, I did enjoy what I played of the story missions, and I have high hopes for co-op as it was a standout in previous entries. But to judge Advanced Warfare against its predecessors' online components, it not only holds up well but expands on the franchise's success in engaging ways. Battlefield is another series that I've mostly played online. Renowned for its team-based tactical combat and large scale warfare, Hardline represents a radical departure from formula. I tried my hand at Hotwire, Heist and Conquest and, while Heist is an interesting take on a cops and robbers scenario (think Kane & Lynch or Payday) and Conquest treads familar solid ground, I've spent most time playing Hotwire. The Battlefield Hardline beta showcased Hotwire mode on a couple maps, and I was immediately hooked by the near constant movement facilitated by mobile capture points. By making vehicles the objective, Visceral Games ensured a twist on the Conquest formula that keeps competitors on their toes during the entirety of each match. Playing Hotwire I was immediately reminded of Grand Theft Auto IV's online gameplay. Whether Free Mode or Deathmatch, the most fun I had during GTA IV was driving cars or piloting gunships around the airport, all the while gunning for gamers either alone or with others along for the ride. Playing chicken with cars full of gunmen was a common pastime. Hotwire elevates this to an art form by incorporating objectives and rewarding constant kinetic action, whether racing to secure objectives by maintaining a set speed or trying to undermine others' possession of the same with the arms and vehicles at your disposal. Noob tubes such as grenade and rocket launchers become the weapons of choice. Of course you're still at the mercy of certain design or player choices such as a prevalence of camping snipers on more wide open maps and teammates who prefer to target enemies instead of objectives. But the most common criticism is the move away from the large scale warfare that fans expect. This raises the interesting dilemma that developers face when creating FPS games especially. Adhering too close to formula risks stagnation and waning popularity, but tampering with a successful format risks losing your loyal fan base. As a longtime shooter fan, I don't envy studios the decisions that they have to make when so much is at stake. This brings me back to the concept that certain franchises and their developers, and by extension the genre, can be victims of their own success. Many die-hard fans eschew dramatic changes to their beloved games, whereas other equally passionate fans bemoan the lack of evolution. I belong firmly in the latter camp but respect those who prefer the alternative. From my perspective, I welcome the kinds of changes that these three games have implemented to varying degrees. Interestingly, I've noticed that what each shares is an emphasis on movement, whether the jetpacks and exoskeletons of Destiny and Advanced Warfare or the mobile capture points of Hardline, not to mention stronger fantasy elements such as in the former two games. I'm not sure whether these studios have gone far enough for my tastes, but anything that expands gameplay in three dimensions or complements it in story or art and map design is worth exploring. And if this generation has enabled growth in these areas or it's a natural evolution of the genre, either way I think that fans benefit (so long as we still get our large scale combat, that is). ; ) Originally published on GameInformer.com April 23, 2015, at 2:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 4/30/15. Selected for Game Informer Newsletter, 5/2/15. 4,785 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. The release of Alien: Isolation late last year fueled nostalgia for the sci-fi/horror franchise, and encouraged me to revisit a related game that is over 19 years old -- Alien Trilogy. The presentation suffers on a high-definition TV and the gameplay is stiff by modern standards, but the atmosphere and suspense still capture the elements that have contributed to the series' success. As the title suggests, Alien Trilogy borrows from the first three films, including plot and character elements, enemy types, weapons/tools and setting. While not a point by point recreation, the story begins with Ellen Ripley and a Marine expedition traveling to LV426. The ensuing action in this first person shooter unfolds with the player in control of Ripley as she fights through xenomorphs. An opening cinematic is also reminiscent of the film Aliens, with a Marine transport taking its passengers to the surface only to face near extermination during an early alien assault. The CG amused with its dated graphics but also recalled a fondness for early PlayStation era titles and iconic scenes from the James Cameron film. Gameplay begins with a standard pistol, but one's inventory will grow to include such memorable weapons as the pulse rifle and flamethrower. The heads-up display shows basic information familiar to fans of the FPS genre, such as an ammo counter, health meter and radar, the latter in the form of the motion tracker used to monitor alien movement in Aliens. Facehuggers (in the foreground) are a common enemy found early in the game. Returning to the games of past generations can be a jarring experience. While we might remember such titles fondly, the antiquated controls remind us how far gameplay has progressed. And nothing demonstrates that better than trying to survive an onslaught of scurrying face huggers with the PlayStation's directional keypad and shoulder buttons. Thankfully there are pickups located throughout the levels of this corridor shooter, and finding ones such as this shotgun prove necessary against tougher foes. The shotgun also happens to be a useful tool for removing barriers such as explosive barrels. One criticism, certainly not unique to this game, is that corridors are indistinguishable; so getting lost is pretty routine. On the plus side: facehuggers! Their AI is a decent challenge, as they often attack in numbers, avoid gunfire and retreat far (down corridors and around corners). And if they get past your defenses -- a distinct possibility when returning to this control scheme two decades later -- they smother you. Eww. But one of the best characteristics is the sound they emit -- a kind of high pitched shriek that is unremarkable but assumes greater significance as part of the score. That's right, the alien squeal accompanies other sounds like thunder in the familiar synthesizer score to establish atmosphere and, more importantly, keep you looking over your shoulder. Besides the ominous HUD chewing facehugger, your character's demise might be represented by a third-person cinematic of your character succumbing to a xenomorph in a screen awash with blood-red flames or some such conflagration. Like the score, it's a glorious reminder of that era's FPS games. Xenomorphs represent a similar challenge as facehuggers, though they are necessarily more powerful. The standard pistol is pretty ineffective, though the shotgun can make mincemeat of them (albeit greenish-yellow mincemeat owing to their acid blood, which regrettably does not alter the environment when spilled, even in copious amounts). The only problem with the shotgun, as can be expected, is the dearth of ammo pickups. Like the health pack, these are relatively rare, so keeping the pistol equipped is usually a good tactic. Besides the standard xenomorph, dog aliens (from Alien 3) make an appearance, though I don't remember them using walls or ceilings as in the movie. And in my limited playtime I didn't encounter any queen aliens, though they do represent the bosses in this title. Still it was fun to be reminded of games from this era. The graphics and cinematics, the synthesizer score, the corridor shooter gameplay -- it wasn't so long ago that this was the cutting edge. At least it wasn't so long ago for this old school gamer! |
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