Originally published on GameInformer.com November 23, 2014, at 11:30 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 12/4/14. 4,794 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. It's no surprise that there is a conspicuous dearth of reviews for new video game releases on last gen consoles. Still, it's a safe bet that most gamers have not made the leap to the new generation of hardware. That leaves word of mouth as the primary means of conveying the last gen experience, however, that is suspect given the release day glut of overly negative ratings or poor reviews lacking any substance. As I am traditionally a late adopter of new gen technology, I will do my best to fill that knowledge gap beginning with this overview of my initial playtime on Playstation 3 with two high-profile titles that released this past Tuesday. Dragon Age: Inquisition and Far Cry 4 are the latest titles in their respective and popular franchises, and demonstrate that there is still some life left in past consoles. You don't get far into Inquisition without being presented with the character creation tool. Anyone who's played other BioWare titles like Dragon Age: Origins or Mass Effect will be familiar with the depth their interface allows. It's one of the better such tools on the market. You begin by choosing a race and a class, which are pretty standard, before moving on to physical features. A series of preset options are available for features such as hairstyle, facial hair, complexion and skin color. Facial features are often manipulated with a kind of sliding scale reminiscent of the triangle format in the Saints Row series. In Inquisition, movement of a cursor inside a square alters features in different proportions depending on where it is dragged across the square. This feature is detailed and intuitive, and allows a lot of creativity. I only tried the human warrior class, but assume the same latitude (and likely more) is available regardless of class. The story begins about where many role-playing games do, inside a prison. Technically (minor spoiler alert), your character witnesses the destruction of a conclave of mages and templars by a rift, then is apprehended when your sole survivor is revealed to inexplicably share its power. It's relatively standard fare for fantasy RPGs, but is well presented and of course BioWare's dialog trees offer a measure of player control. As a fan of character creation tools, I always enjoy seeing how my design is incorporated into the game, and Inquisition is no exception. From cutscenes to dialog screens and action sequences, the player's design is well-represented and well-integrated into every moment. Dialog trees are a common means by which developers like BioWare or Bethesda allow some player influence on unfolding discussions. Some, like Inquisition, even allow selection of an emotional response when replying. All this likewise impacts other characters' reaction to your character, and is indicated, for example, by notifications that others approve or disapprove of your response. Cutscenes and dialog screens show a degree of detail and range of facial expression that the developer is renowned for. Animation and particle effects can be stilted at times, but lip sync is well done and dialog is solid even if the story is a little formulaic to begin with. Given next-gen development, I had concerns about this aspect of the presentation but they thus far have proven unfounded. One of the welcome features of Mass Effect was the degree of detail lavished on the story's background exposition, whether elaborating on races, politics, planets or other topics. Inquisition appears to have a comparable level of depth, providing supplemental information on topics such as the history of the world of Thedas and the characters that populate it, all unlocked as the story and world unfold before you. As with character design, I appreciated how even your choice of character name is integrated into this background exposition. In my case, I couldn't have been happier how mine, Timeron, fit with the family name, Trevelyan. Early foes, which originate from the rift, are suitably otherworldly and represent melee and ranged combat. The former so far come in two variations, with a standard Shade and a Greater Shade, while the latter are kinds of specters that hurl spells. AI on normal early on is straightforward, attacking head-on but at least en masse. Human warrior attacks are a standard R2 hack, a stronger Square swing if I recall, and a kind of area attack (R3?). While cutscene and dialog screens emphasized character detail and facial expression, the overall presentation -- at least in the early stages -- is mediocre though it does still provide a sense of place and is effective at establishing atmosphere. Edges can be jaggy, textures bland and draw distances poor, combined with sometimes two-dimensional foliage, unconvincing water animation and collision detection issues. Whether these are graphical sacrifices to allow for a larger open world design remains to be seen. The early going is a linear experience and I'm unaware how Thedas on this generation compares with the next-gen representation, though I imagine it's necessarily smaller in scope. Still, the initial mountain environment is well conceived, from the winter landscape, to weathered ruins, to foliage that blows independently. The rift is a character itself, setting the story in motion and providing the context for all the ensuing action. It's depiction, however, is somewhat underwhelming, a result of substandard particle effects that impact cutscenes, scripted events and in-game action. Your character's related ability is a promising element, that hopefully will be well-integrated into the story and gameplay. I always appreciate when a game acknowledges the action that transpires by reflecting the carnage in subsequent cutscenes. Bloodied characters add to continuity between action sequences and cutscenes, and reflect the constant, intense engagements of a series with deep combat controls. The close quarters fighting that is typical of the human warrior means red is a common element of the wardrobe. Loot grinding is another element that figures prominently in the Dragon Age franchise. As is typical of the RPG genre, fallen enemies are one of the primary sources for gear that can be used by your character. Inventory menus for each character in your squad allow for easy review of materials, comparison of similar items, and swapping of weapons or armor. Your character acquires comrades-in-arms fairly early, emphasizing the squad-based combat present since the first title. The longtime ability to switch between characters on the fly keeps the action varied and interesting throughout, and assists with micromanaging your team through the thick and thin of combat scenarios you will face. All this happens in real time without the need to navigate multiple screens or commands. It is during combat where the game gets especially interesting. Real-time action with individual squad member control, a welcome option in and of itself, is complemented by a top-down, isometric Tactical Camera mode for greater battlefield awareness and group commands. In this mode, which reminded me of XCOM: Enemy Unknown's intuitive combat mechanic, the player directs each squad member's actions. Commands take place during a pause in the action. Upon selecting a character, options include variations such as move, defend or attack, and the ability to target specific foes. Once your squad is assigned its marching orders, action can be initiated via the Advance Time (R2) control. Advance Time is well-implemented and, frankly, one of my favorite features. It not only restarts real-time action, but moves the game forward incrementally as chosen by the player. Action commences as long as the respective button is depressed, and again pauses when the button is released. Add to this a free-floating, player-controlled camera and the gamer can get up close and personal with the fruits of their labor. A fan of director and camera modes such as those found in Driver 3 and Halo 3, I appreciated this level of control over the game's action sequences. The fact that this occurs in the context of tactical squad control elevates this function and helps deepen the rewarding combat, which is the high point thus far in my experience with Inquisition and mitigates some of the shortcomings in presentation. Ubisoft Montreal's Far Cry 4 picks up where its predecessor left off, even though the storyline has nothing to do with Far Cry 3. What the latest entry in this popular series does share is an exotic location that is well-realized, first person shooter mechanics that are well-implemented, and varied action that keeps the game interesting. It doesn't hurt that the main foe, Pagan Min, is another depraved but colorful antagonist. The overall concept, too, is similar, involving a foreigner in a strange land struggling to overcome his oppressors. What is different is that this time around, your character is returning to an ancestral home and caught up in the civil strife wracking the land, coveted by both sides and forced to choose from among its factions while carving your own path. Thus far, I've played through the game's prologue. Far Cry 4 impresses early on with its presentation, beginning with the opening cutscene. I did not notice a significant difference between the last gen cinematic and the current gen version previously advertised. Subsequent cutscenes and in-game content show similar detail whether related to textures, lighting or animation. In this regard, it shares its predecessor's craftsmanship. Natural surfaces show depth, artificial elements like artwork or crafts are meticulous, light and shadow are realistic and dynamic, and movement of people, water, and foliage and fauna is smooth and natural for the most part. The only issues I've encountered so far are some blurring while moving (which is not entirely unrealistic) and an odd, though subtle, visual distortion when looking around, like interference waves on an old TV set. A common, but still welcome, element of the FPS genre is the camera (or binoculars) that enables players to tag foes and predators seen through its lens. This allows some strategy thereafter by showing you their position even when the camera is unequipped and barriers hide them from your field of vision. It might be more of an arcade element, especially sans advanced combat tech, but does increase enjoyment and reduce frustration for me. In contrast, the save options proved most frustrating for me. As someone whose gaming sessions can be counted in mere minutes, the absence of a save anywhere option (at least in mission) not only feels antiquated but can be a real barrier to progression in particular when relying on stealth. Ubisoft does include generous soft-save checkpoints, but hard saves only occur at mission completion. Gratefully, I soon realized that shooting is a viable alternative to stealth even at the beginning when short on supplies. An initial stealth kill provided my first assault rifle, and from there reliance on mostly headshots meant I looted more ammo than I used and could progress much more quickly. Of course, enemy AI that proved more stationary than mobile contributed to the success of this tactic. I found that while foes will react to your discovery or attack, that reaction appears to involve them moving within a preset area. They'll advance to a point, but then give up the chase, returning to patrol routes. Likewise, they will take cover but sometimes they are exposed, and when emerging from cover they stay long enough for you to line up a headshot. So attacking from range has its advantages. Combat not only takes place on foot but also on wheels. Players can ride shotgun and focus on eliminating the opposition, or shoot foes from behind the wheel while controlling the vehicle or allowing the game to drive. This on-rails option helps vary the combat, and is especially welcome in light of the vehicle mechanics. Driving is controlled entirely by the left stick (up increases speed, down decreases it, right turns right and left turns left). It's not a huge learning curve driving forward, but I found going in reverse, especially while turning, was less intuitive. Combine that with an exit glitch at least on the ATV and driving can be annoying at times. Exiting the ATV appeared to be arbitrary (i.e. not context sensitive). Sometimes I could exit, and other times I couldn't, despite repositioning the ATV or spamming the (square) button. One death occurred when I thought driving into a lake would disengage my character as in many other games, and another almost happened when I couldn't navigate reverse on a hillside and fell clinging to the ATV. The game's stealth mechanic actually works fairly well, it's just that I don't have the patience or the time to utilize it as much as I would like. Enemies follow patrol routes that you can exploit with quick stealth kills (R3) or to evade them entirely, or they can be distracted by thrown objects or otherwise overcome by tactics such as thrown bait. The standard stealth mechanic of hiding bodies is just as effective in Far Cry 4. Leaving them out in the open will result in their discovery and raise an alarm, while carrying them to a more secluded location can cover your tracks. In this Himalayan setting, some wilderness areas prove very helpful at concealing your victims. Perhaps I don't play enough stealth games, but I was impressed with the way corpses reacted when thrown in water. Convincingly, they float on the surface for a spell, until eventually sinking to the bottom accompanied by a few initial bubbles. Whether ragdoll movements or in-game physics, attention to detail at times is impressive. A fun and practical element introduced to combat is the use of bait to attract a predator among your foes. I used it on purpose to introduce a bear in the midst of soldiers, and once by accident when I lured a mountain lion among wolves I was hunting. It usually results in the deaths of several opponents so is fairly effective and is easily obtained with a hide. As in the previous game, predators are a common threat but also a resource. And their AI so far seems more responsive and natural then even human AI. I shot at a wolf pack from a ledge and they wound their way up to my vantage point. Wounding a bear made it aggressive, but wounding it repeatedly made it flee. All are reactions enemy AI could learn a lesson from. That said, enemy AI is not worse than other shooters and does provide for entertaining firefights. Allowing for a mix of stealth tactics, melee combat and shooting, enemy engagements can be fun and intense. Predators make a welcome return and again add variety, and I haven't even utilized elephants or rhinos yet! The new environment is just as worthwhile to explore as the island setting of the previous title, and incorporates more climbing opportunities befitting the more vertical locale. Throw in the tried and true loot grinding and related crafting elements, as well as other returning features, and Far Cry 4 appears to be a worthy successor to the last game. Dragon Age: Inquisition reportedly inhabits a kind of middle ground between the deep tactical control of Origins and the more arcade approach of the second game. So far, I can attest to a more intuitive squad control mechanism that allows for a more streamlined approach to combat or the option to micromanage as the player sees fit. Although the overall presentation is lackluster, character models, cutscenes and dialog screens are detailed, and dialog options continue to imbue otherwise scripted moments with opportunities for manipulation and control. This, plus the possibility of a more open world design, help elevate the title past its weaker elements. At this early stage of both titles, I can say that BioWare and Ubisoft Montreal have crafted compelling experiences that thus far are worth exploring, whether for fans of each series or newcomers. If early tutorial gameplay gives way to deeper options, and if updates can patch glitches and smooth other rough edges, Inquisition and Far Cry both can only benefit. I hope you found this not only informative but helpful, and enjoy either game regardless of the platform you buy it for.
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Originally published on GameInformer.com November 4, 2014, at 8:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 11/13/14. 6,281 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. Stan Lee's Comikaze Expo, a pop culture celebration that spotlights sci-fi/fantasy comic books, manga, anime and TV/film, returned for its fourth annual convention in Los Angeles. To judge by Saturday's crowds, attendance should top last year's roughly 50,000 over three days. No surprise considering its growing content. Marvel Comics' Stan Lee himself kicked off the weekend's festivities with an appearance on the Hot Topic Main Stage at 9 a.m., prompting a stampede of fans across the convention hall floor. He was characteristically funny, personable and enthusiastic as he fielded questions from the interviewer. Marvel superheroes was a popular topic of discussion, including the planned Black Panther movie, the new Indian superhero Chakra, and the introduction of a new Latino superhero. For this lifelong Marvel fan, such news is music to my ears! The Hollywood Sci-Fi Museum again had an impressive roster of life-size Marvel characters on display. This year, it took the form of a red carpet lineup of Avengers also including Spider-Man and Rocket (the full contingent of Guardians of the Galaxy would have been appreciated, but that will have to wait for the eventual movie mash-up). By chance, I happened to be present when Stan Lee approached the table where renowned Marvel comic artist Jim Lee was signing autographs for a line of eager attendees that ran the length of the show floor. The two were all smiles as they exchanged a warm greeting and a few words before parting ways. Stan Lee's Mega Museum returned with its wide variety of Marvel Comics figurines, with Avengers and Guardians of the Galaxy receiving special attention, including an impressive collection of busts, helmets and related gear (see below). As always, there were several rows of display cases filled with decorative art. Many sketches were likewise on display this year, showing off the artistry of Marvel's illustrators. I was eager to attend the Battlestar Galactica 10th Anniversary panel discussion on the main stage at 11 a.m. Edward James Olmos (Admiral William Adama) took center stage, having impressively reprised the role made famous by Lorne Greene in the original 1970s series, otherwise known as Bonanza in Space. He was flanked by Jamie Bamber (Capt. Lee "Apollo" Adama) and Michael Trucco (Samuel Anders). The former was late but made up for the delay by surprising the latter as he tackled him to the ground. From that point on, the camaraderie they shared was clear and illustrated what helped make the reprisal so successful. Comikaze also welcomed cast reunions of My Little Pony and Mad TV. Others who graced the Hot Topic Main Stage were the cast of True Blood, Howie Mandel and Rob Liefeld (creator of Deadpool). The panel discussion I was most interested in was also the one I likely would have to spend the least time attending in order to avoid Season 4 spoilers. Still, I did watch the beginning of the Game of Thrones event at 1 p.m. on the main stage. Alfie Allen (Theon Greyjoy/Reek), Esme Bianco (Ros) and Gwendoline Christie (Brienne of Tarth) formed an impressive trio. Theon and Brienne were among my favorite characters of Season 3 so I was grateful to attend even for a limited time. The actors spoke of memorable moments (spoiler alert), such as Theon's castration (Allen didn't have much experience to draw upon, thankfully) and Brienne's battle with the Hound (Christie's fave moment). The latter was a spoiler, but didn't give away too much. Christie, Allen and Olmos were among the celebrities signing autographs, which also included Adam West, Barbara Eden, Comic Book Men, Elvira, Eric Roberts, Howie Mandel, James Hong, Jewel Staite (Kaylee Frye in Firefly/Serenity, a personal fave), Jim Lee, John Romita, Julie Newmar and Stan Lee himself. Crowds did seem larger than last year, whether the throngs lined up prior to opening or the multitudes jostling for position in the cramped aisles, especially in the afternoon. Hopefully this meant more patronage for the exhibitors selling their wares, who filled the South Hall of the Los Angeles Convention Center (familiar to my fellow Electronic Entertainment Expo attendees). The variety of products on display was similar to last year, including T-shirts, cosplay garments and accessories, plushies, dolls, figurines, character and vehicle models, comic books, graphic novels, manga, anime and other TV/film Blu-rays/DVDs, books, myriad collectibles, video games, etc. Some booths included services. The Spider-Man sculpture above was a welcome addition. Artists, including comic book illustrators and writers, were well represented among the exhibitors at Comikaze. While many focused on graphic arts, some also featured sculpture or crafts. Whatever their medium, legendary artists mixed with relative newcomers to showcase a wide variety of skills and tastes. One of the booths to catch my eye this year was HexComix, thanks in part to the enthusiastic welcome of producer Lynly Forrest. The label just published their first issue of Hex11, a comic book chronicling a world where people are discovering their magic abilities in the shadow of forces seeking to control them. Writer Kelly Sue Milano and illustrator Lisa K. Weber (L-R, above) are the creative force behind the fledgling series. Regrettably I have yet to read my first edition copy, but the concept and artwork are solid so I can't wait to dive in. Besides the comic book, my daughter and I also bought a print (above) that we both liked, and Dragon Kitty buttons for both my girls (yes, Dragon Kitties!). More info can be found at the HexComix website. The spectacle of a talent like Marc Silvestri sketching at the Top Cow table ought to be enough to stop anyone in their tracks. But the prospect of also getting his autograph was too good to pass up. However, he was busy illustrating prepaid sketches and it appeared he would have no time to sign. My daughter was desperate to leave, we both were thoroughly exhausted, but I didn't want to pass up such a rare opportunity. Imagine my delight when he not only graciously agreed to sign my copy of The Darkness Origins Vol. 1 but smiled and asked me how I was doing? As tired and stressed as I was, it was an especially kind and welcome gesture from such a gifted and busy artist. I was familiar with The Darkness via comiXology, but my introduction to it was through the last gen video game of the same name. The excellent game, with a powerful story, is a credit to the source material, and the imagination and creativity of Silvestri. More on Top Cow and the artist can be found at the website of the same name. Gary Montalbano is one of those artists, like Milano and Weber, that I likely wouldn't have been exposed to if not for venues like Comikaze. His sci-fi/fantasy creations caught my attention on the show floor, no doubt the same way that his illustration above captivated a Warner Bros. executive. As he explains it, the former Marvel artist met the executive at a convention, I believe, and the executive indicated that he'd been trying to track him down since first seeing this image. Montalbano went on to work for Warner and other studios. This image is included in his art book (top), which is filled with sketches, illustrations and descriptions of his creative process. We bought a print of the above artwork, which typifies his unique vision. For me, it was a stylized tiger as well as elements of ancient Egypt, combined with a futuristic veneer, that set his portfolio apart. It didn't hurt that the gifted artist is also humble and personable! Visit garymontalbano for more info. Speaking of future settings, I've been a fan of the Ghost in the Shell universe since first watching the film, and my library now includes the manga and the first season of GitS: Stand Alone Complex. So I was excited to see that FUNimation had Ghost in the Shell: Arise (Border 1 & 2), a prequel to all things GitS that I was unaware even existed, available for purchase. We found a vinyl figure of Frozen's Elsa among Funko's popular line of pop culture figurines. I've always debated getting one whenever I see them and this year was no different with an exclusive unmasked figure of Steve Rogers (Captain America). But what was a must buy for me was Robocop (above). There was never any question about whether I would own that. Other purchases included The Ballad of Sally Sprocket & Piston Pete by Alejandro Lee, Dark Horse Comics' The Star Wars and Marvel's own Ms. Marvel (2014) #1. Cosplayers were out in force at this year's gathering and none captivated me like the above creation of the very talented Dennis Aiken. Not only was the self-described "wooden Steampunk" design awe-inspiring in its simplicity and craftsmanship, but to see him walk onto the show floor in full regalia was an impressive sight to behold. The costume is made of bendable plywood -- two-layer for most parts, one-layer for others. That's an impressive feat in and of itself, but add to that the modular design to facilitate switching out components like the helmet for other styles and you have a serviceable creation. The real achievement, however, is the large hands with workable fingers that correspond to his own movements. Despite not having leg components or a stained, finished exterior, the overall appearance was a visual treat. I even think the nonstained wood had its own allure, emphasizing its wooden origins. Regardless of its perceived shortcomings, Aiken achieved quite an accomplishment in my opinion. I also have to note the interactivity of these Ghostbusters costumes (above). Their gear had the appearance of being operational, whether flashing lights or, unless I remember incorrectly or was seduced by optical illusion, moving parts. A very cool design all in all. Cosplay is an important element of Comikaze and this year again included a Cosplay Contest at 6 p.m. If I'm not mistaken, the Cosplay Ball at 8 p.m. at Club Nokia was new this year, an acknowledgement of the growing popularity of cosplay especially related to this expo in particular. The Back to the Future DeLorean, Knight Rider KITT car and Star Trek original series captain's chair all graced the show floor during this year's Comikaze expo, inviting attendees to take a seat behind the wheel or at the controls. Excelsior! The man behind the wheels and controls of Comikaze gave his trademark salute at the beginning of Saturday's festivities. Stan Lee's Comikaze is a must see show for me. The past two years has seen growing participation by celebrities and attendees, with panel discussions that are timely and compelling, other guest contributions that are informative and entertaining, and attendee involvement that is inspiring whether cosplay or interaction with guests and exhibitors. I've enjoyed the variety of products and artwork, as well as the opportunity to speak at length with exhibitors whose work impresses me. It has the feeling of community and shared love for the subject. And it's an experience I can share with my daughter. I look forward every year, and can't wait till 2015. Originally published on GameInformer.com July 6, 2014, at 7:45 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 7/10/14. Selected for Game Informer Newsletter, 7/18/14. 11,595 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. Anime Expo is billed as the largest anime and manga convention in North America, and the second longest running anime convention. Attending the 2014 event this weekend, there was no doubt of its popularity. Opening day this past Thursday attracted scores of attendees who packed the wide sidewalk outside the Los Angeles Convention Center all day waiting for their chance to enter the exhibit hall. Record attendance last year at the same venue totaled 61,000 unique guests for the four day July 4 holiday weekend, with 161,000 turnstile visits. In comparison to my last visit in 2012, it definitely appeared to be more crowded considering the sea of attendees prior to opening, as well as the multitudes who were still lining up outside with only a couple hours left before closing. Exhibitors Attendees come, in part, to shop the wares offered by more than 240 vendors on the massive show floor. Exhibitors displayed anime, manga and related merchandise in all kinds of mediums. Blu-rays, books, CDs, video games, figures and toys were well represented, including rare and exclusive items. Among the merchandise that caught my eye were an Ichi the Killer: Blood Pack Special Edition, Dragon's Dogma: Official Design Works and Mulan: Rise of a Warrior. Nothing rare to my untrained eye, but the expo was the first time I'd been made aware of these items. Cosplay vendors offered a variety of clothing and accessory options, including steampunk designs, armor, wigs and a few specializing in weapons. At an event as popular among cosplayers as this one, these booths saw regular foot traffic. There were also booths that displayed non-cosplay fashion designs. Websites that stream anime content continue to maintain a high-profile presence at Anime Expo. Anime and manga related merchandise is well represented by retailers and distributors offering toys and accessories such as plushies, action figures, models, key chains, purses, etc. Blu-rays, DVDs and manga were available from several exhibitors and covered a wide range of titles and tastes. Figurines and models came in all shapes, sizes, materials and subject, representing an array of popular characters in numerous costumes and myriad dramatic poses. Video game publishers were on hand to showcase and sometimes demo their titles on multiple platforms including PC, handhelds and consoles. Different kinds of hands-on demos were available to those attendees interested in tackling skills such as drawing during their visit to the expo. Workshops were offered in areas such as sewing, origami and dancing. Artist Alley Amateur and semi-professional artists have an opportunity to display and sell their creations to fans who share their enthusiasm for anime and manga. Most artwork was of the pen and paper (or brush and paper) variety, with designs ranging from the whimsical to the dramatic. Other mediums such as literature were also represented. All showed great care and respect for their subjects. Artists spent their day sitting behind a table and framed by their creations, happy to speak about their work with customers and passersby. Attendees were grateful for an opportunity to rest their feet even one to two hours into the show, no doubt after having waited hours already in the massive line outside the convention center. Cosplay Many attendees showed their creativity by dressing as their favorite anime, manga or video game characters from franchises such as Final Fantasy, Zelda, Avatar: The Last Airbender and Assassin's Creed. Crafting their costumes from a variety of materials, their artistry was no less impressive than that on display in the Artist Alley. The show floor also proved a staging ground for the Masquerade competition, a tradition at Anime Expo where cosplayers display their costumes and pose in character for an opportunity at the recognition that comes with winning such a contest. Of course, Anime Expo is much more than what is on display on the show floor. There were also live panels, guest of honor panels (including Q&A sessions), fan discussions, announcements, anime premieres and music concerts, among other daytime and evening events. All told, Anime Expo 2014 demonstrated once again why this annual gathering is a highly anticipated opportunity for artists, vendors and fans to interact and enjoy their favorite anime and manga titles and characters. Originally published on GameInformer.com June 13, 2014, at 7:30 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 6/19/14. 4,999 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. I've become so busy that it appeared last year's Electronic Entertainment Expo would be my swan song in terms of covering this industry. So it was with some relief that, on this last day of the 2014 expo, in its waning hours, I finally had an opportunity to visit and reconnect. Absent making appointments ahead of time, I was left to fend for myself on the show floor. Fortunately waiting on standby for Rainbow Six: Siege paid off handsomely, and I was gratified to try out a few other titles I was excited or curious about. First up was a Sniper Elite 3 demo. This might not be big news at E3, and is in fact a title only weeks from release, but it's high on my list of anticipated games due to the excellent though unsung original game that I played on PS2 and its capable Sniper Elite V2 reboot on last gen consoles. Gameplay takes place on a map of Tobruk, with the player on a hillside overlooking a Nazi encampment. Having seen others complete stealth takedowns of foes (and having done so in prior titles), I approached the first enemy, but forgetting past controls I crouched about trying to trigger a prompt and instead alerted my enemy. In lieu of melee combat I shot him dead and alerted the entire camp, which advanced on my position, which is not unusual for someone as clumsy at stealth as I can be. At least I had plenty of med kits and bandages to see me through, as well as an assault rifle, which was as imprecise as in prior titles (perhaps by design). I was able to resort to my sniper rifle on occasion and its control and execution were as I remember, though someone must have removed bullet drop as my shots had to line up precisely (and with limited time I didn't want to customize the sniping options). The bullet cam is as engrossing -- and plain gross -- as ever, my highlight having been an eye-socket fatality. There were plenty of sniping opportunities at distance, whether from the elevated hillside, watchtowers or at ground level, and the map in general was well conceived with tents, ruins and other objects creating multiple pathways and cover. This Tobruck map wasn't as large as I remember the Berlin maps from the original game, but it was a decent challenge. An initial objective was searching enemies for intel, but an optional objective of eliminating a sniper appeared as I progressed. This kind of sidequest should help broaden gameplay and help maps feel more expansive, at least artificially. HUD features likewise are similar to V2, with stealth/threat indicators and a map onscreen, and a radial inventory search a button press away. As far as inventory, it appears standard with sniper rifle and assault rifle as well as grenades, med kits and bandages among other items. I think inventory searches are in real time so selecting when to use it is important. As far as presentation, it's very similar to V2 despite a change in locale; I didn't notice any upgrades despite playing on Xbox One (with the caveat that it's only a demo). All in all, the experience was very similar to V2, which is not a bad outcome. I know I'll enjoy playing it if that's the case, though I still hope for larger maps with more gameplay options; in other words, an experience more similar to the original game. Time will tell. A sniper rifle would be a true asset in the post-apocalyptic world of Dying Light, but removing melee combat from the gameplay equation would defeat the purpose. The combat, in fact, is what defines this zombie survival horror title, though the demo is less distinctive than the title might suggest. Indeed, that it began as a sequel to the developer's Dead Island franchise should come as no surprise to those familiar with that series' brutal combat, its powerful custom weapons, exotic open world and fun co-op gameplay. Reportedly, what differentiates Dying Light is the impact of its day/night cycle on enemy behavior and its parkour movement, among other differences. While the former did not factor into my playtime, movement did seem more dynamic with the ability to grab edges while climbing or jumping, which increased options and the fun. Controls did take some getting used to, as using the R1 shoulder button (grab) while depressing L3 (sprint) felt less than intuitive, and I did fall on occasion. The demo starts beside a building with the objective of reaching a safe house, if I remember. I had an electrified axe, I think a flaming blade of some kind, and a nailed bat. Secondary weapons include knives that can be thrown with the opposite hand and are effective at momentarily stopping or disorienting foes. Having played Dead Island games, it was clear these weapons were highly upgraded and, indeed, cutting down enemies was fairly simple and appropriately bloody. Even for that franchise, fatalities in Dying Light seemed more gratuitous. Still, attacked in numbers meant a greater challenge, and tight corners ensured assault from all directions. If you liked the Dead Island games, you will like this one. It's similar in many ways, but its reported differences are compelling. If like Dragon's Dogma in terms of the day/night cycle impact, and approaching Mirror's Edge with its parkour elements, such features should evolve gameplay in welcome ways, and Techland's commitment to fewer glitches is promising. The highlight turned out to be Rainbow Six: Siege. I knew a little about the cancelled Patriots title, but I went in to Ubisoft's presentation completely oblivious to what Siege had to offer. Having been a fan of the series since PS2 entries but especially the last gen Vegas games, this was the one presentation I made time for. Ubisoft made clear from the start that this title was focused on multiplayer, with the siege scenario of the title being the central gameplay mode. Opposing teams of five players would clash over objectives like hostages, with one side tasked with breaching a target locale and the other with defending it. Three classes per side offer varied inventories. My hands-on demo began on the breach team. After selecting the assault class and a courtyard spawn at our developer team leader's request, we all sent wheeled drones inside to survey enemy fortifications, position and/or movement. The assault then began with us advancing and entering through doors or windows of the first or second floors. Once inside, the team leader guided players but I was preoccupied with the controls so lagged the others (not to mention tossing an ill-timed flash-bang). Thankfully the HUD showed general teammate location, though tight corridors kept me focused on corners. Team members can access drones at any time, but in the moment I relied on my eyes and ears. I did get the drop on a foe but excitedly fired mostly into the air instead of into him. The funny thing is I don't think he even noticed as he continued to crouch slowly around a corner. Actually what's more funny is that my pursuit put me practically on top of our objective and I was killed before I could heed my team leader's admonitions. Despite my poor judgement, our team eliminated the opposition to win. It's worth noting that I don't recall having any issues with the actual controls or execution, only with my learning curve. Movement is fluid, targeting feels precise and hit detection seems fine, despite not getting my foe to take the bait earlier. Drones also control well. Likewise, level design is impressive, especially when considering the tight confines of a residential home. This is not a Vegas-style commercial hotel/casino interior. Multiple paths follow short hallways that connect various rooms. On top of that, players also can create their own paths with their demolition tools in the midst of a firefight. Adding to the intensity of firefights is a solid presentation, whether smooth animation, quality particle effects or static backgrounds. Of course one doesn't really have time to appreciate their surroundings during such a scenario, but it appeared serviceable enough and I think enhanced rather than detracted from the overall experience. The next time, our roles reversed and my team became the defenders. We set about erecting fortifications like wall reinforcements, shields and other impediments. I of course erected a shield nowhere useful, but thankfully could remove with ease. When the assault began, I was able to kill a foe after a hallway firefight, but it wasn't long before I was taken down in turn. I believe it was this go around that ended with our team leader eliminating his opposite. The final round had our team again assaulting the objective. This time I did listen and follow instruction, setting up a breach on the kitchen floor and detonating before following our team leader to attack foes through a breach he setup on the floor of an adjacent room. To my recollection, we both killed someone prior to leaping through the breach. I managed to take down another enemy in an ensuing firefight but had to hurriedly revive the hostage in another room. Shortly thereafter I was knocked off. I think the odds were still in our favor when the wall next to our last two team members was destroyed, killing both instantly. That moment demonstrated best the potential this game has. It goes beyond the destructive capabilities of games like Battlefield: Bad Company 2 or even Red Faction: Guerrilla and implements destruction as a tactic from moment to moment in a firefight. Walls and floors can be breached or shot through to change the odds in one's favor. I came away from this demo with the same level of excitement I had after having played the Borderlands 2 demo at E3, and that turned out to be one of my fave games, especially in co-op. The one caveat for me is whether there is a respectable single-player mode as in the Vegas games, and I overheard one of the developers reassure an attendee that that has always been a part of R6 titles. Last but by no means least was the Far Cry 4 demo. The prior game in the franchise was an entertaining shooter so I have high expectations for this latest entry, despite a villain that appears to hail from Stilwater or Steelport and a setting that seems similar to the Rook Islands of Far Cry 3. The demo, it turns out, felt small in scope and my equally limited time discouraged exploration or experimentation (though more precisely, my limited lifespans prevented it). But my Ubisoft handler was kind and generous, allowing me several playthroughs due to a short line so I felt I got a good feel at least for the gameplay on display in the demo. My first attempt I chose the fly option from among three that included stealth and ride. Unfortunately my handler warned me too late that the controls are challenging. Indeed the small helicopter you pilot is unintuitive to control at best, with PS4 left stick to turn, right stick to target, circle to rise and X to descend. That meant I had to fly, target/shoot, fly, target/shoot. I was shot down to no one's surprise. I could select a different option than fly, however, I'd have to back out twice for a longer loading wait. So I tried walking instead of boarding the helicopter. The problem with that is I still had the same arsenal, which included a grenade launcher and pistol, if I recall. Using either of course raised the alarm. I did manage to get inside the main gate and find some cover, and even eliminated a jeep of reinforcements. But I soon ran out of ammo and had to emerge from cover to search fallen foes for ammo/weapons, which were in limited supply. It wasn't long at that point before I ran out of healing syringes and options. The next time I opted for stealth instead of ride (the latter involved an elephant and from appearances was slow and didn't afford much protection). Although stealth is not my strong suit (see Sniper Elite 3 above), I was armed with a crossbow and sniper rifle, which proved a pretty fun loadout to attack with. I also was able to use a grappling hook for a different route inside. Regarding this map, the village features many multistory buildings in close proximity. There is a variety of cover and options for crouching and climbing. In this way I was pleased with the level design, which works both ways. Foes would take cover or flank, requiring players to be aware of their surroundings at all times. This makes taking out foes at range all the more important, and in this regard the stealth arsenal proved perfectly adept. Targeting and hit detection seem precise, allowing for long range crossbow executions (it helps that body shots kill as effectively as headshots). The sniper rifle is even more effective when scoped, taking out two foes with one shot when lined up. Still it was tough for me not to raise an alarm, and equipped ammo will only get one so far. I did manage to kill most if not all enemies but a gunship proved difficult for me to take down even with a found RPG launcher. Granted, I never ran out of syringes, but my timing for applying them could have been better. I believe it was on my second stealth attempt that I eliminated all foes in the village and thereby passed the level. In the process I did enjoy Far Cry 4's gameplay, with the possible exception of the helicopter learning curve. It played like its immediate predecessor so is promising. Hopefully it will innovate and improve in ways that grow the franchise positively. A final word about my Ubisoft handler, she was positively helpful and enthusiastic, providing tips and other guidance besides letting me play a long time. She is a game designer who hasn't worked on the franchise, but has worked at Ubisoft Montreal on a secret game the past four years though wouldn't reveal whether or not it's a new IP. So that's my big scoop: Ubisoft Montreal has spent four years on a secret game! You heard it here first. : D That was my experience of E3 2014. A few hours spent on the show floor with some of my most anticipated games. I wish I could have spent more time and reported to you on more titles, but I'm grateful to have even had this limited opportunity. Thanks for reading, and I hope your most anticipated games meet with your expectations. Originally published on GameInformer.com April 13, 2014, at 11:30 AM.
Selected for Blog Herding -- The Best Blogs of the Community, 4/17/14. 2,449 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. A peculiar thing happened on my way to the finale of The Last of Us, and is yet another example of the on and off debate about narrative and decision-making in video games. I'll avoid overt spoilers when discussing specific titles. At one point Joel's character, whom I was controlling, confronts a particular group. It's filled with tension, both sides standing their ground. I tried to act at range, I think shooting warning shots, throwing bricks or otherwise trying to get them to disperse. Indeed I was wary and wanted to avoid bloodshed and perhaps venturing down a path of no return. Regrettably nothing worked and, as expected, moving close triggered what turned out to be unavoidable bloodletting. It was an interesting moment, as up till now I was content to allow the narrative to unfold; however, at this point I wanted to dictate what happened next. In my mind, Joel (or perhaps more precisely, I) should choose a certain path. But his path, of course, was preordained by the developers at Naughty Dog. Now, there was nothing in the entire game to this point that encouraged me to believe I could influence the outcome. Granted, there is limited freedom of movement in each area so exploration is allowed and even encouraged by both hidden and useful items. And various weapons ensure some measure of freedom during combat. That, however, is the extent that one can exercise free will in a game that is renowned for its story. A story that I likely don't have to tell you is controversial at least in its climax. Here again, as in titles like Mass Effect 3, we're reminded of how a developer's vision can clash with players who have grown so attached to a story and its characters that they feel a vested interest in the ultimate outcome. The comparison with Mass Effect 3 is admittedly problematic as the controversial ending owes much to the series' famed gameplay wherein player choice figures prominently in the fate not only of characters but of storylines as well. In this context, players (as I understand it, having not finished this sequel myself) were frustrated by an inability to influence the trilogy's conclusion after three games that encouraged such involvement. That said, the game and series reflect the growing practice of allowing the exercise of player free will in a virtual world. Whether in BioWare's other series Dragon Age, in Bethesda franchises The Elder Scrolls or Fallout, or in myriad other titles ranging from Fable or The Walking Dead to BioShock or Infamous, discussion trees, branching storylines or choices between good and evil dictate game progression. Such freedom is often at odds with the creative vision of developers who are attempting to tell a particular story that can benefit from a predefined dramatic exposition and carefully planned character development arcs. After all, there is only so much variation that such vision can allow for while still conveying certain truths that are central to the narrative. For instance, I accept that Naughty Dog could not allow my Joel to pursue a different tack than what they needed his character to do in that moment. But it was still a disappointment that a character I had grown to care about and relate to could not perform based on what I felt was more appropriate behavior given the circumstances. In fact it's interesting how the character of Joel conflicted with my own preconceived notions and biases to the extent that I balked at playing out his story in the way that it had to. Unlike some others, I did feel that ultimately Joel's actions made sense in the context of his own history and evolution during the story's timeline. Indeed, I thought the conclusion was terrific. So what to make of the mixed feeling I have for not being able to act as I saw fit in that one situation? It did take me out of the game, reminding me that I only had the illusion of control in this instance. Even Mass Effect 3 appears to have generated the same reaction in fans, whereby as liberating as some choices in the series appear, players still only had the illusion of control in the context of the larger story the developers at BioWare were attempting to tell. Like the uncanny valley, which can disrupt one's immersion in a game with a distracting production value that undermines an otherwise realistic presentation, an immutable narrative device integral to the story can weaken immersion that's built upon a real world scenario where gamers exercise a measure of control in every scene that unfolds along the story arc. Free roam, open world games are becoming more common, even in series or genres where single-player experiences are more story driven. This practice seems at odds with establishing a clear plot and adhering to its structure throughout, though thus far developers approach this dilemma in different ways. Some like Naughty Dog might stick to their guns in The Last of Us and allow little deviation, though perhaps increasing options in other areas such as exploration and combat. Others like Irrational (BioShock), Sucker Punch (Infamous) or Lionhead (Fable) offer choices between good and evil behavior in the context of the larger story. Still others like BioWare or Bethesda present branching storylines that nonetheless have limited impact on the main story. It's therefore not impossible to offer some measure of free will or freedom of choice in a storytelling structure, but finding the right balance without sacrificing one or the other or the carefully crafted immersion that will keep gamers playing is a challenge that even the most gifted developers can find difficult to overcome in increasingly complex games. In some ways, developers are victims of their own success, and so long as they continue to expand the choices available to gamers, and improve their ability to tell original and compelling stories, the twin pursuits will meet in ways intended to be mutually beneficial but that are often at odds. To what degree gamers expect or demand both in the same game will influence how successful it is in either regard. Originally published on GameInformer.com March 25, 2014, at 10:00 AM.
Selected for Blog Herding -- The Best Blogs of the Community, 4/3/14. 2,309 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. When you get to be my age, most things provoke a sense of deju vu. Take the current news about virtual reality. I've been excited for the technology since I first tried it out -- 15 years ago! I have a child in middle school now who wasn't even born then. I don't have to tell you that is a heck of a long time to wait! Now, I only used the VR machine for all of five minutes at most. But it made a lasting impression. Of course it didn't hurt that when I was done and removed my visor I saw I was surrounded by a crowd of admirers. Okay, maybe they weren't admiring me, but one cowboy in a stetson did say "Nice shootin,' son" (truly). In my late 20s, it had been a long time since anyone called me son, so I might be a little biased. But I wanted to share with you my experience in order to put the current discussions in perspective, especially as it tickles me that people are touting the new car smell when the technology has been around the block. Granted, its history is somewhat maligned to judge by the careful, cursory research I performed. Apparently it never caught on due to issues like lag and unresponsive controls, however, that was not my experience. And if 300 seconds don't make me an expert in VR, well I don't know what will. So, picture Las Vegas in the late 1990s. Specifically, the MGM Grand Hotel, but before they had to rebuild it due to a completely lame architectural design that, among other things, resulted in a driveway turnabout too narrow for limousines and a casino accessible only by walking down a very, very long corridor of shops and restaurants. This is important because it was in that never-ending corridor that the VR machine was placed. It had the distinction, therefore, of high visibility among passersby and low interest among non-exhibitionist gamers such as myself. Don't get me wrong, I was desperate to try it, but not at the expense of making a fool of myself. The longer our stay, the greater my desperation and lower my inhibitions. This is Las Vegas at its most basic, a crude formula for turning lambs into lions, or at least regular folks into shameless fortune hunters. The cold calculus was helped by a seeming dearth of passersby on the final day of our visit. I swallowed what pride I had left and scaled the bulky platform, which would not be out of place in a late '90s video arcade but stuck out like a sore thumb in the middle of a tourist trap. On any other day, my ascension onto the pedestal and crowning with a half-helmet would only add to the bizarre spectacle. At this point I should point out that the details of the VR machine escape me, not because I suffer from the Visitors' Bureau back-handed compliment of a slogan "What Happens In Vegas, Stays in Vegas." But because it just wasn't important to me at the time. That said, a little internet sleuthing suggests a possible contraption. Virtuality was a line of VR "pods" since the early '90s and found in video arcades at the time. Its design matches the machine I used, which had a raised circular platform a few feet in diameter, with a waist-high rail that opened and closed to ring the gamer. A "Visette" head-mounted display and joystick rounded out the components. The joystick was an interesting design that reminded me of a Space 1999 stun gun, for you ancient fellow fans of the sci-fi TV series that sent Martin Landau and Barbara Bain hurtling through space on a runaway moon. In fact, using the visor and joystick no doubt engendered a similar fish out of water sensation. The game I played was a first person shooter that was probably most reminiscent of Area 51. I don't recall much of the setting except that it was a mixture of indoor and outdoor areas during daytime, beset by alien invaders who took every opportunity to pop out from behind cover like ET in a beer factory. What was most memorable for me was not only how foes would attack from all directions, but how I could turn in the direction of enemy fire to confront them whether they were appearing to the side, from behind me or even from overhead. Whichever direction I turned my head, the in-game camera followed seemingly without any lag. At least, I don't remember any technical issues with my playthrough. As mentioned, I didn't notice any lag that impeded gameplay; quite the contrary, I was thrilled with how responsive the VR was. For a gamer who values immersion, I'd had no experience before or since that rivaled that sense of being in the game. One could argue, I suppose, that my poor KDR was indicative of unresponsive controls or poor hit detection, and I would thank you! That would be exceedingly kind, and I would appreciate the gesture. Truth be told, KDR is not my strong suit and I didn't notice that my gameplay in this department was considerably worse. The fact is, I thoroughly enjoyed the mercifully short playthrough. It functioned like an on-rails shooter, which moved forward when depressing a particular button. The only other element I recall is holding the trigger to shoot extraterrestrial bad guys, of which there were plenty that poured from all around. I was moving constantly not only to pick off what enemies I could see but to cover all possible approaches. It was nerve-wracking, but terrifically fun. I had no complaints in the gameplay department, though I suppose I'd like to see options for free roam exploration, for crouching or going prone, and for more item interaction. The challenge also would be to address any issues of lag and unresponsive controls, while designing an affordable retail model that has all the functionality -- and then some -- of the reportedly $65,000 commercial units. I, for one, am hopeful that the intervening 15 years have allowed for such an evolution. In the meantime, I'll bask in my moment in the virtual sun, when I breathlessly removed my visor to notice that a crowd had gathered around the unabashed spectacle that I had put on in the MGM Grand. Besides the admiring cowboy, a young boy who also had been watching the monitors asked me whether it was any fun. Oh yeah, I replied. Originally published on GameInformer.com February 14, 2014, at 10:00 AM.
Selected for Blog Herding -- The Best Blogs of the Community, 2/20/14. 2,256 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. We don't fall in love with video game companions, especially those we're not meant to develop strong feelings for. Sure, a strong narrative and character development can evoke our sympathy and even sentimental affection. But gamers would be forgiven for ambivalence toward allies who traditionally make our virtual journeys more dangerous than they might otherwise be. Take Dom in Gears of War. How many times did we have to save his skin when he ran into darkness and was devoured by kryll residing therein? And what of Flynn in Uncharted 2? It might not come as a surprise, still his determination to rush ahead, alerting adversaries to our presence, was a constant frustration. Nevermind our comrades in any FPS, who have complete disregard for line of fire. Yes, it's hard to love such incompetent sidekicks. As the saying goes, with friends like these, who needs enemies? My companions in RPGs like Skyrim are no exception. Called "followers" by the game, the irony of such a label can't be lost on Bethesda, no pun intended. Indeed, the greatest danger they face is getting left behind, whether due to sticky terrain or paths that baffle them. Of course it doesn't end there. Like squadmates in military shooters, they have a knack for crossing my line of fire or just getting too close to my elemental attacks. My two followers to date have died many ignominious deaths as a result, only to be revived by the miracle of save game reloads. However, I do feel a pang of guilt when counting their bodies among my foes.' In fact, I did develop an affinity for my first follower, Uthgerd the Unbroken. The bond was strong enough that I couldn't kill her when she turned on me. Yes, it was my fault for roasting her in the first place, but I wouldn't have had to if she didn't get stuck on a hillside and doing so wasn't the only way to get her free from that predicament. Likewise, I didn't have the heart to confront her later as demanded by the Companions. I would have made her my wife if she was so inclined but that never transpired, which was just as well as I found a new companion that I preferred. Illia the mage was a much more formidable follower as her spells made quick work of many enemies. I didn't think I could marry a follower, but have since found under the right circumstances I could marry Uthgerd, though not Illia. In the meantime, I became betrothed to housecarl Lydia. That prospective union, however, was anticlimactic as her reaction was along the lines of, "Life is short and tough, so why not marry to lighten the load?" Oh, be still my heart! Romantic sentiment, it turns out, is in short supply on the inhospitable Skyrim tundra. It should come as no surprise, then, that my affections turned to my followers. In any other game, a companion's woeful lack of strategy or even common sense would earn them a gamer's disregard or outright hatred. How many allies have we been blessed with that we would have preferred took a fatal bullet for us and even tried to help that process along? In games where I can, I'll even instruct them to wait while I soldier on, lone wolf style. Still, despite their shortcomings, there's something about the wide open world of Skyrim, its sometimes barren or otherwise challenging landscape, and the ceaseless assaults of its weather and inhabitants that inspires affection for the brave, foolhardy or simply thick headed followers who agree to accompany us on our long, thankless quests. How else to explain my inability to accept their deaths, the reflex to load a save game file upon their untimely demise; the panic I experience when I realize I've left them behind, or the pity/guilt I feel upon seeing them look at me helplessly from afar; or the hope I feel that at anytime they might say something in reply other than "What can I do for you?," or "What would you like me to carry?" With Illia, in fact, I'll repeatedly bump into her or spam the talk button just to get a reaction. In this case, actions speak louder than words, and I always appreciate the zeal with which she attacks my enemies. Yes, she's gotten me in a pickle by making foes of friendlies like soldiers and Companions, who make me laugh with their dry, exasperated remarks at being attacked by my follower. It's true that allies in most other games fall short of earning such affection, but that doesn't mean I don't ever appreciate their efforts, however misguided or downright meddlesome. I remember how grateful I was, for instance, to be accompanied by squadmates during my daunting Quake 4 expedition, especially after having attempted the frightful solo campaign of Doom 3. Misery loves company, as they say. At least in squad-based military shooters, ally AI is a little less incompetent. And even if they tend to stumble into danger, we can order them to stay put. I recall having to do just that during some sticky situations in Operation Flashpoint: Dragon Rising, like when we were holed up in a house and surrounded by foes. Few things irritate more than having to rescue a teammate who's fallen out in the open. We therefore can thank BioWare for giving us relatively competent companions whether in titles like Dragon Age: Origins or any Mass Effect game. Of course being able to micromanage their actions in a firefight is a great benefit, but even left to their own devices they, for the most part, keep to cover and react appropriately to the threat. And unlike most military shooters, they're more than mere cannon fodder. The impressive accomplishment of Mass Effect 2 is how the game develops each squad member with respective quests before placing the entire squad in harms way. Any death in the franchise is keenly felt thanks to forking decision trees and permanent consequences to your choices. I still regret losing Wrex in the first game. But losing others in its sequel was agonizing. Call it the burden of leadership. Granted, too few games benefit from the design choices these examples utilize. Whether overcoming ally incompetence, mitigating it somewhat, or simply allowing us to conveniently overlook it, gamers are sometimes blessed with companions that they genuinely care about, albeit to varying degrees. One can only hope that more titles follow this example and reward us with fewer anonymous sidekicks. My last Skyrim play session reminded me how indebted I am to Illia, whether fighting Blood Dragons, Mages, Forsworn or Trolls or, more importantly, combating the loneliness of a large expanse of wilderness. Besides her strength, I've come to rely on her for her constant companionship, sacrifice and eagerness to help. Such allies are a blessing, and if I could thank them, I would. Until that's an option, reloading a save file to resurrect their spent lives will have to suffice. Originally published on GameInformer.com January 22, 2014, at 10:00 AM.
Selected for Blog Herding -- The Best Blogs of the Community, 1/30/14. 1,946 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. In some ways I've become a slave to my phlogs, so have chosen to return to writing a more analytical piece about a subject that is impacting and will impact all our lives: Obsolescence. The definition is "the state of becoming old-fashioned and no longer used, especially because of being replaced by something newer and more effective." Of course this relates to the current state of affairs in the video game industry as console hardware transitions from current gen to next gen and all that technological leap entails. Whether among this site's members, one's clanmates or gamers in general, we all are staking claim, either to the new frontier or to familiar mainstays. Such tumult can be traumatic as dedicated gamers are torn between neglected backlogs and next gen standard-bearers. Yes the trauma is a relative exaggeration but reflects the anxiety that more commonplace technological advances elicit in a public increasingly reliant or at least devoted to them. You might know that my gamertag, Shootist2600, is a reference not only to my beloved Atari 2600 but to the John Wayne film The Shootist, about an aging gunslinger taking on young pretenders anxious to make a name for themselves. As an older gamer, I'm constantly reminded of my status as an anachronistic oddity. It's even more pronounced when the industry migrates to successive generations of gaming consoles. I typically am a late adopter by choice and cling to my familiar backlog despite the allure of titles like Killzone: Shadowfall or Need for Speed: Rivals, not to mention the considerable bells and whistles of these aspiring entertainment centers. But more profound in many ways is the fear of being left behind the cultural curve. Industry discussion had already focused on next gen topics long before their retail release, and early adopters are adding their voice to the rising chorus of people in the know. I've never followed trends nor been in the vanguard on any subject, but participation alone can be its own reward. Obsolescence, unfortunately, can take many forms and life has an uncanny and sometimes disturbing way of imitating art. In my case, nascent automation has resulted in new layoffs, and those affected are faced with entering the job market in some cases after 15 or 20 years of employment with the same company. This situation not only brings into stark relief possible shortcomings in technological proficiencies but also highlights the challenges in general faced by an aging workforce when re-entering the pool of prospective applicants regardless of position. And to a lesser extent, those not laid off are faced with adapting to new systems and processes. As we age, it's difficult to escape the feeling that we are constantly playing catchup in a futile effort to stay abreast of the changes that whipsaw our lives. In some cases, adhering to the old, familiar ways of doing things provides comfort and reassurance in the face of dramatic and uncertain prospects. This is true whether an established personal or professional role or last gen gaming console. I recognize the influence and importance of new hardware and software in my day to day experience, but I also am a creature of comfort as well as being somewhat practical. As mentioned, I have a huge backlog that keeps getting bigger, whether longtime titles that have been neglected too long or newer games waiting to be played. In this context, it's difficult for me to justify new hardware and the accompanying software it uses. So I stall. Truth be told, it's usually my wife who who will make the purchase as a gift, bless her heart! But even she's skeptical of brand new technology and cautions patience. Still, there comes a time when excuses are cast aside and one takes a leap of faith. Whether for our day to day lives or livelihoods, or for entertainment purposes, we recognize the need to move forward and evolve, lest we be irrevocably left behind. Of course, that recognition might be forced on us by issues beyond our control, whether downsized, red-ringed or yellow-lighted. Regardless, it's a situation we all confront sooner or later. According to The Economist (January 18, 2014), "One recent study by academics at Oxford University suggests that 47% of today's jobs could be automated in the next two decades." That's a sobering statistic. Change is more immediate -- and welcome -- when considering gaming console life cycles. If we're lucky, we can elect when and how we upgrade our lives. Then, we can luxuriate in old, familiar mainstays to our heart's content, and only move on when we're ready to fully embrace the future. Evolve on our terms. After all, there's value in antecedents; of course, I'm one myself! And in the spirit of celebrating everything archaic, I am going to revel in my obsolescence. An obsolescence I'm proud to share with my now last gen gaming consoles. And with you. Because no generation gap is so large that our gaming -- a continuum that binds -- can't bridge the expanse. Originally published on GameInformer.com November 6, 2013, at 1:00 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 11/14/13. 18,187 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. My day at Stan Lee's Comikaze included a Grand Theft Auto 5 cast panel discussion, meeting gifted artist John Chalfant, gawking at Stan Lee's Mega Museum and sightseeing the many vendor booths and cosplayers. I'm surprised I found out about this fast growing show only two weeks prior to its third annual convention in my own backyard of Los Angeles. It appears to be attracting 10,000 more attendees every year, including an anticipated 50,000 for the three-day event this past weekend. The show packs the Convention Center's South Hall with hundreds of vendors and programming that fills each day with panel discussions, all focused on the genres of science fiction and fantasy portrayed through mediums like comic books, graphic novels, manga, anime, TV, film and the Internet. It began a few years ago as the brainchild of a fan who envisioned such a pop culture event for the City of Angels. Marvel's Stan Lee and iconic TV personality Elvira (Cassandra Peterson) became involved last year, lending their names and expertise to the burgeoning enterprise. Admission is $25 per day for adults and free for children under 12. Since I never attended Comic-Con to the south, this was well worth it plus I was able to take my eldest daughter as she shares my interests in these genres/mediums. Stan Lee's Mega Museum was my first stop and, although "mega" more in the sense of quality than quantity, the movie props didn't disappoint. Fans of Marvel Studios films were able to see some of the iconic creations for its popular films. None were operational but at least the Iron Man suits lit up. Adjacent to the museum display was the Stan Winston School's booth, which included a lifesize mech and a T-Rex head. But the real draw was a live demonstration of the mech (that regrettably I was unable to attend) and FX artists who exhibited their skills. Display cases showed off scores of Marvel miniatures in tremendous detail. The collection would be the envy of any superhero fan. The Wall-E Builders Club and R2 Builders showed off their considerable skills with working life-size models of the iconic droids. A treat for me was spending a few minutes with artist John Chalfant. Although his booth displayed some familiar art (above), it was prints for his Steamblades (or Legend of the Steamblades) that drew me to his display. Fans of the Warner Bros./Rocksteady Studios' video game Batman: Arkham City will immediately recognize his work. He not only created the box art for the game but also designed the respective Game Informer magazine covers. Currently he is creating artwork for Bethesda Softworks/MachineGames' Wolfenstein: The New Order video game. The iconic melding of Steampunk design with samurai armor created alluring imagery, whether prints of his "good" samurai (above), "bad" samurai or related machinery or world map. All of these creations are in service of a graphic novel he is working on that I, for one, can't wait to see. If I remember correctly, this world features continents revolving around a sun, with some existing in light and others in darkness. Good and bad samurais from these respective lands battle over the stones/crystals that power their Steamblades. To judge by the artwork, it's a fantastic vision. Visit jchalfant.com or legendofthesteamblades.com for more information. Likewise, I was drawn (no pun intended) to the artwork of Alejandro Lee. The compelling duo in The Ballad of Sally Sprocket & Piston Pete comic book series, plus the artful marriage of Steampunk with Wild West, was all that was needed to pull me in. That said, related artwork was also imaginative and impressive. See his portfolio at 47ness.deviantart.com. The highlight of my day at the show was sitting in on the panel discussion involving principal cast members of Rockstar's Grand Theft Auto 5 video game. The lively discussion lived up to its billing with an often hilarious exchange between the five participants who, at times, joked in character. Perhaps unsurprisingly, the Q&A kicked off with comments on motion-capture suits and their reflective ball sensors that turned into maybe 10 minutes of ball jokes. But there was also serious discussion. Shawn "Solo" Fonteno (Franklin Clinton) and Gerald "Slink" Johnson (Lamar Davis) talked about their backgrounds and the hiring process. Solo related how they wanted to cast "two dudes who can relate to the hood factor," and Slink suggested when from South LA, if you weren't a Lamar, you knew a Lamar. Then Slink joked that instead he was from the "Oxfordshire School for Acting." Danny Tamberelli (Jimmy de Santa) said he based his character on "upper middle class kids I went to high school with," but insisted with a grin that was "Not me. I was acting the whole time." Asked if they heard of GTA, Stephen Ogg (Trevor Philips) said he'd heard of the franchise but didn't really have any idea what it was about, to which Danny asked if they even had video games in Canada? Eventually Stephen indicated he was not a gamer, and had not played GTA 5. Solo joked that the game made $3 billion off him alone. He said he was told the job was something else at first, but when he found out it was for GTA, he joked that he renegotiated. Solo indicated that his cousin had played CJ in Grand Theft Auto: San Andreas. He also said he could relate to the part of Franklin. Ned Luke (Michael de Santa) had been a guest star on TV's Law & Order and had acted mostly in commercials. He suggested they were all actors who just got lucky. Solo then added "I think I did 100 commercial robberies." Discussion then turned to the script, which the actors joked was laced with British dialog. Slink said it amounted to, "Hey mate, let's go chat about ..." Though he and Danny indicated they did ad lib, they still lauded the writers as geniuses. Stephen emphasized that the story didn't change, and Slink added, "The meat was there, we just put the seasoning on it." Ned called the script "Unbelievably original, funny, pointed and ironic." Still, they had the freedom to improvise. The way he described the process, "At the beginning we had to find our characters, then [the writers] found us." Slink added, "It's Rockstar's creation, and we brought life to it." When asked what moments from the game they remember most, Stephen said, "The relationships have been the best thing about shooting the game." Ned added, "For me, those were the best times -- when everybody was there working at the same time. Even in between takes." "It all was an amazing experience for me," said Slink, who not only praised his fellow cast members but the crew as well. Ned also paid tribute to the female cast members of his game family. They summed it up by acknowledging what an incredible ride it's been. Emphasizing what a life changing experience it's been, Solo added, "My enemies who play this game are my friends now. Seriously." Slink, in fact, paid tribute to the fans by standing repeatedly during the discussion to thank attendees and fans everywhere. All in all, there's no question that these actors developed a special camaraderie during the three years they spent working on the game, and that all were humbled and appreciative for the entire experience. Other panels that interested me that day (though I was unable to attend) included Star Trek Renegades, Wonder Woman -- Why Can't She Be Done Right, and What Can Be Done About It!, Bringing Superheroes to Life : The Art of Legacy Effects, Miniatures and Creature Effects in Motion Pictures, Icon: Levar Burton, Masters of Monsters & Horror, Writing Genre TV (with The Walking Dead, Justified & Once Upon a Time in Wonderland), and Zombies! Everything You Wanted to Know But Where Too Afraid to Ask! Cosplayers were out in force during the show and while I only caught a few with my camera, many had impressive wardrobes demonstrating a high degree of craftsmanship and care. Last but not least, the many vendors offered a variety of wares whether books, Blu-ray/DVDs, T-shirts, memorabilia, figurines, models, cosplay accouterments, artwork, etc.Although in my experience the benefit of such shows is the rare find, this show provided more than a few worthwhile discounts. I was grateful to leave with graphic novels Anomaly & Shifter from Anomaly Productions (each about 50% off), Frank Miller's Robocop graphic novel from Boom! Studios (including Robocop: Last Stand issue No. 1), Iron Man 3 Blu-ray combo pack (50% off retail), Pacific Rim 3D Blu-ray combo pack (30% off retail), and a Steamblades samurai print (#75/100) by John Chalfant. All in all, Stan Lee's Comikaze proved a fun, interesting and worthwhile event that I hope to visit again in upcoming years. Originally published on GameInformer.com September 22, 2013, at 7:30 PM.
Selected for Blog Herding -- The Best Blogs of the Community, 9/26/13. 5,077 views as of June 4, 2018. Update 6/4/18: Select screenshots from this pictorial appear at bottom. I recently explored more of Los Santos in Grand Theft Auto V, including new areas, a few of the many side missions, some personal activities, a stunt or two and varied transportation including a blimp. The one thing most of my experiences had in common was my character's untimely death. Repossession was one of the early story missions I completed and, predictably, I think I died at least once just getting acquainted with my new firearms and also failed the mission maybe a couple times while I either screwed around or got myself stuck when pursuing my target. Of course that's all on me, as the pistol and shotty are fairly standard (even the latter's deadly shot at range) and vehicles control well in general. Similarly, towing side missions involve retrieving vehicles but are not too glamorous, though finding and towing a car before it can be hit by a train was relatively thrilling and a nice change of pace. But the annoying character who provides these missions can get on one's nerves, though my running her down had nothing to do with that. I was just moving back and forth to keep her from getting inside because I'm a dork. Who knew injuring her was a mission fail? Paparazzo side missions are pretty entertaining, whether helping capture images of a fleeing or pursuing celebrity. So far I haven't failed one, though I think I just got lucky and it's a matter of time. That said, at least one mission was very graphic though veterans of the series might not be surprised; newcomers, however, consider yourselves warned. Motorcycles are a great way to get around Los Santos as they are among the fastest and most maneuverable wheels you can find. After taking the paparazzo's ride I explored the countryside and enjoyed my new-found freedoms. Those freedoms included the ability, if not the right, to infringe on a military base. It's one way to get an instant four-star wanted level in the game, but thanks to my trusty motorbike I was able to elude authorities on the nearby beach. ATVs are a step-down from the functionality of motorcycles but still provide a decent means of exploring your world especially when off-road. In this case, one helped me elude authorities by climbing into the hills though, of course, I wouldn't have been wanted in the first place if I hadn't stolen my ride from some knarly beachgoers. My first purchase was a new hairstyle. Even if it didn't increase my rep, it made me feel good. I do miss a character customization tool; still features like haircuts and wardrobe offer some tweaks to one's appearance. My constant use of train tracks and related tunnels is how I get around much of the world map. The occupational hazard of trains usually can be easily avoided, though in one case on a high bridge I had to abandon my vehicle and stand to the side while the train passed. There are a wide variety of areas I've visited thus far whether suburbs, city, beach, wetlands, foothills, forest, mountains, desert, etc. And each has its own communities with their own character. Besides the breadth of such content, the game impresses with the volume of traffic both vehicular and pedestrian. More importantly, all are fatal to me. How does a dork pass the time? By blowing up the same propane tank every time it respawns after my lap around the block. After all, it's the little things in Los Santos that make all the difference. As in The Elder Scrolls V: Skyrim, I spend an inordinate amount of time scaling the heights of this world. And like that open world game, my character is amazingly adept at traversing steep terrain. In this case, motorbikes provide solid transportation, though on several occasions I've managed to slide hundreds of feet at a time. It was my misfortune on one such excursion to have bumped a couple belligerent hikers down a hillside, one tumbling far below while his cursing companion fell halfway and kept threatening to come back up. What they did manage to do was contact authorities, prompting me to escape to this lift. Helpfully, a nearby parachute offered an escape route. Regrettably, I failed to open it before impact. Foiled again! An easy way to make money are the taxi side missions. From a little over a hundred dollars to several hundred, they can line one's pockets quickly and relatively easily. Plus I usually challenge myself to find the straightest route, which usually entails some leaps and a few cartwheels along the way. And so far only one has refused to pay, until I tracked him down, that is. I'm not counting the lack of tips. The lure of military hardware including gunships is tough to ignore so I'm left with trying to infiltrate if I want to borrow any. Unfortunately the response is usually swift and unrelenting, as demonstrated this last time when I managed to drive through streets patrolled by tanks that didn't hesitate to shell me or gunships that rained metal justice down on my head. In the end, a patrol car did the honors outside the base, finishing me off in a hail of bullets. The allure of exploration is at times as enticing in Los Santos as in Skyrim, where hilltops promise an unexpected panorama of one's next destination. Figuring out how to get there is part of the fun, even if it involves a sore body and bruised ego along the sometimes slippery path. Even on the mountaintop I contemplated leaping into the river, so when I arrived on the bridge it was a foregone conclusion (once I dodged the train on the tracks). Too bad that my attempt was met with a sickening crack as my head hit the rocky riverbed. The most pleasant surprise so far was finding an armored truck (first, on my map) with its guards standing outside. I took them down, busted open the doors and took the contents as I fled pursuing authorities into the woods. I'm not sure, but think my takeaway was a cool four grand. Not bad for someone getting by mostly on cab fares. It's always a treat to see familiar landmarks as I travel Los Santos, whether recreations of downtown LA high rises or local landmarks like the Santa Monica Pier or Venice Boardwalk (though it was eerie to drive down the latter considering the damage a real life motorist recently inflicted doing the same). I have no interest in hiring prostitutes in a GTA game except perhaps the first time out of curiosity. But as with at least one Paparazzo mission I alluded to earlier, newcomers should consider themselves warned that at least in this regard the game is pretty graphic (much more than I remember in previous titles, though perhaps I just forget). I'd been frustrated with the lack of helicopters in the game (to the point I wonder whether I have to unlock them), so imagine my thrill at finally finding a boat I could take for a spin. This sailboat is relatively slow even on open waters but at least it's not annoyingly so. Water animation is impressive in GTA V, whether the current along the shore or waves farther out to sea. Indeed, piloting a boat along coastal waters can be a treat given the realistic portrayal. Of course, all that went out the window when I saw a rare helicopter in the harbor. The chopper was heavily guarded so demanded a more careful approach though, clearly, my definition of careful is not textbook. Veterans of the series will appreciate the presence of stunts in the game, including the standard leap off the top of a parking garage. Whether my lack of control, form or high performance vehicle, mine was a short trip, and not just because of the slow mo tracking shot. The problem was that the vehicle I landed on was literally filled with gangsters, who apparently are not fans of vehicular stunts performed at their expense. Within seconds the occupants stormed out of their car, guns blazing, and put a quick end to my short-lived existence as a stunt car driver. Equally futile was my first race. Though I'd taken the lead early in the second of two laps, I misjudged a turn, leapt a low brick wall and found myself stuck between it and the house on the property. Thankfully, my second attempt went much better and I won first place without such an indignity. I knew the importance of target practice (though waging firefights can have a similar outcome in the long term), so made a point of visiting a range and trying my hand at the challenges associated with a variety of weapons. Some indeed were challenging but also fun so I spent awhile there perfecting my abilities. As mentioned I enjoy taxi cab side missions for the money and the challenge of taking the shortest route. I wish I could say the same for my customers, though so far none have bailed out (like they might in Saints Row, if I remember). The Atomic Blimp was a preorder promotion so I finally downloaded it and took one for a spin. It controls well and despite being relatively slow still is an effective means of getting around town. I originally planned to look for a rooftop helicopter but something else caught my eye. A second Atomic Blimp was lumbering across the skyline so naturally I decided to take it out. As expected when involving blimps, aerial warfare took a long, long time to reach its conclusion. After ramming my target repeatedly, it was my ride that of course fell from the sky as it suddenly stalled. I did manage to leap out just before the blimp burst into flames upon hitting a rooftop, but it was too late to save myself as I died on impact. Par for the Los Santos course for me. This travelogue represents my past two sessions with the game and, in case you couldn't tell, I'm enjoying getting lost in Los Santos. One caveat is I've been having difficulty figuring out how to access missions. Yes, I can find them on my phone and also from the Start menu I think? But they don't really show any details. The only way I've found story missions is by accident, typically when returning to my home or an associates' business/home. You'd think by calling them I could get info on missions but in all my attempts they're always too busy to talk. Then I show up on their doorstep (or my own) and, voila, new mission! I just wish story missions were more accessible or intuitive. That said, I did I finally find Michael so now have the option of switching between him and Franklin, opening up the gameplay somewhat. But in the meantime, the side missions are entertaining enough to keep me busy and I look forward to getting back into the fray. |
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