Sunday 30 March 2014

Metal Gear Solid 3 HD. COMPLETE. Oh and... InFAMOUS: Second Son. COMPLETE.

Metal Gear Solid 3: Snake Eater HD

                                                                                                                                                   Source: gamesareevil

What a thrill!

I had never played MGS3 before I received the HD collection for free on PS+; but my God am I pleased that I was able to experience the series. The entire game felt like a B-Movie style spy flick - along with all the characters, aesthetics and dialogue that make an MGS game an MGS game. The game adds so many mechanics that make it unquestionably entertaining and hits the nail on the head by imposing the feeling of being a spy behind enemy lines that needs to survive at any cost.

That's not even touching the surface; I honestly have no idea how to tackle the write-up of this game. It's going to be my biggest challenge yet!


InFAMOUS: Second Son

                                                                                                                                                   Source: gamingbolt

Now to be fair, this never really made it into my "backlog" as I was so excited for the third entry into one of my favourite series on the PS3.

Let's just say that the leap to next-gen has begun very well, but was not without sacrifices in some departments. I thoroughly enjoyed it though, but it left me clawing for more.

Expect a review of it soon!

Saturday 29 March 2014

Brothers: A Tale of Two Sons Review (PS3): The Strongest of Bonds


Whilst playing through my backlog, I've found that so many games struggle to form a narrative using some of the most diverse and interactive artistic tools in this modern age. Admittedly not all are trying to make the next award winning Shawshank Redemption-esqué story, but those that are seem to be very hit and miss, which at times is crushingly disappointing for those players that want to be connected to the characters, story and world in question.

Brothers: A Tale of Two sons is potentially one of the best story driven experiences I have played in my backlog, perhaps in my entire list of completed games; even if it is extremely short and sweet.

I can't talk much about the story without spoiling the details, however the main premise is that you are, you've guessed it, brothers.

Brothers whose father has fallen deathly ill and needs water from a mystic well to save his life. You are both thrown out into the mostly linear world and given one direction to go towards. What follows is a fantastic case of story telling; full of characters who don't have to speak English for you to understand what they are saying, feeling or intend, and a glorious world that asks nothing more of you than to explore, enjoy and experience it; utterly undemanding and ridiculously relaxing.

                                                                                                                                                   Source: PCgamer
Just looking out over the game's vistas is enough to evoke an emotional reaction.

Part of this simplicity draws its roots from the control scheme - the older brother's movements is controlled with the left thumb-stick and performs actions with L2, the younger brother's exactly the same, but with the opposite side of the dualshock. Admittedly it did take about 15 minutes to get used to controlling each brother simultaneously, however once you are familiar with this idea of thinking for two people, it becomes a graceful dance through the levels and a joyful way to interface with the game.

The actual gameplay itself revolves around the protagonists navigating through a guided set of levels to reach their ultimate goal. This takes its form in a semi-platforming fashion, the player scaling walls, avoiding occasional enemies, some clever climbing puzzle mechanics and a couple of boss battles that never break the immersion of this world that feels like you're experiencing a story that's being read to you.

This feeling is also expressed through the relaxing music and storybook style art that was obviously carefully chosen to build an atmosphere that dances on the fringes between hope and despair. The title is extremely skillfull at changing the tone of the visual and sound design to fit the scene at hand, which can create some moving moments as you stumble upon some secret scenes along the way and when the game comes to a crescendo.

                                                                                                                                                   Source: rockpapershotgun
Could video games learn a lesson from BTTS's direction?

One of the only criticisms that I could possibly find with the game are it's strengths; simplicity, linearity and short length. The whole point of Brothers is that it is a short story that although is deeply and richly detailed, is telling a tale the way that it wants you to experience it. If it were diluted with a spurious amount of collectables, an open world, multiple endings, morality choices etc..., it wouldn't have the same impact that it does; it would be completely unable to form the strong bond that it does with the player by forcing such a close and simple link between story and gameplay.

As a result, one of the biggest things that I took away from Brothers is the poignant question about the industry in general: Do video games need to be restrictive to be good at telling a story?

After getting through the compelling and heart-wrenching story that is Brothers: A Tale of Two Sons, I can't help but lean towards the answer of "Yes".

7/10

Tuesday 25 March 2014

LGS Gaming Marathon - Charity, Progress and Too Much Food


On Saturday 22nd March, I attended a 24 hour charity gaming marathon hosted by the University of Lincoln Gaming Society (LGS). It was set up to raise money for "Child's Play"; a great cause I support myself every year through Extra Life as it makes such a difference for seriously ill children worldwide.

I took along my PS3 and a disc copy of Dragon's Dogma: Dark Arisen, as well as all of the downloaded PS+ Titles I had on the Hard Drive. My intent was to play through Far Cry 3 and start to play Dragons Dogma, however like the best laid plans, these went completely out of the window in reality.

Initially I played through Far Cry 3 for 9 hours until I realised just how similar each hour felt; a symptom of having such a large, open world environment with not much in the way of structured activities. Sadly I won't be going back to it as part of the backlog - I had my fill and felt content that I didn't want to progress any further.

Post Far Cry, I played through Brothers: A Tale of Two Sons from start to finish, relishing every second of it. An amazing narrative driven experience without a single word of English being said throughout. The way that the various game mechanics are used to convey emotion and impact is near inspirational, as well as the actual gameplay being fun. I'll write a full review for it soon.

There were about 40 people in attendance, if not more which was great to see as there was such a variety in terms of games being played. So many tastes were at work and it showed me just how many games I had missed out on by buying so many and playing them.

The then hilarious part of the amount of people in attendance, was when we ordered pizza from Dominos. One of the organisers put the worker on the phone on loud speaker, ordered around £650 worth of pizza and then informed him of our valid 50% off voucher. To be fair the guy laughed it off and got a huge round of applause, but sleep deprivation is a damned thing and worked wonders for my appetite for humour and Italian food.

                                                                                                                                            Source: pizzanews
Garlic and Herb crust dip - THE best invention ever?

I then started a playthrough of Kingdoms of Amalur: Reckoning, however I sadly only made it 18 hours into the marathon before my old age kicked in and made me so tired and grouchy that I had to leave, meaning that I only got a few hours into R. A. Salvatore's world before having to give up and go home for much needed sleep.

Overall, it was a great event and I got to meet some amazing people who were all working together to raise money for children who need as much help as they can get, I made some great progress on my quest to destroy my backlog and my only thing to write about and ended up managing to raise £123.45 as a group. Interestingly precise!

Who said video games were all bad?



Borderlands 2 Review (PC): Addiction Personified


FPS games seem to be the flavour of the decade and are considered to be increasingly representing a degradation in quality titles being published, due to the increasing risks involved with ever rising development costs and the temperamental nature of the market. Sometimes risks are taken which pay off, other times they do not.

Borderlands 2 could be classed as a risk for Gearbox - an FPS in many ways but with a heavy emphasis on RPG elements such as ability trees, skill points and other staples that the more casual titles like Call of Duty may look at with alarm. Although this is true, the developers do an amazing job of making these features and the narrative accessible, yet as deep as players desire.

The story picks up a few years after where Borderlands, the original ended. You are one of 4 (or 6 with DLC) new Vault Hunters that are scouring Pandora for riches and glory when your train is attacked by "Handsome Jack" the multi-trillionaire, psychotic owner of The Hyperion Corporation who is determined to kill every vault hunter and take the secrets of Pandora for himself. Part Vaas, part Joker and all sinister, Jack is the definition of a memorable villain and becomes a staple companion through his ramblings over the radio with the player. What unfolds from all of this is a long, enjoyable and quite often a fun adventure that's complimented by tight shooting mechanics and one of the best co-operative experience to date.

                                                                                                                                                       Source: flashyreview
Handsome Jack is perhaps the most depraved video game villain to date

This isn't to say that it can't be enjoyed on it's own however; a single player campaign and the co-op campaigns are the same in terms of content, but with a completely different feel. I found that I played the game in a different way when alone or with a friend. By myself, I paid more attention to the story and the various characters plights, but when in co-op, I just had a great time in constructing a story of my own, blasting my way around the planet in my companions and my quest to stop Jack and restore peace to Pandora.

It's moments that my "First Impressions" post mentioned regarding exploring that make this such a stand out example of design done right, which still has me fondly remembering entire nights spent on one of the in game slot machines, spontaneous encounters with random and difficult bosses and battles which truly tested my fortitude at times.

This is because there is so much to see and do in Borderlands 2; every area you encounter feels different to the others. Of course the classic archetypes of "lava location", "snow setting", "desert destination" and so on all feature, however the way the settings stand out in this game is through the way that they are filled to the brim with memorable enemies, characters with larger than life personalities and a story too big to experience in one play through. Never was there a dull moment in my time with the game; there was always one more quest to finish, one more enemy to kill and one more chest to loot.

Loot! This game is all about the loot; finding bigger, better and louder weapons is what makes the game so addictive. On top of the story, levelling and quests that have you clamouring for more, the reward system in Borderlands 2 dangles a carrot in front of you constantly, and pressures you in the friendliest of ways to always kill one more enemy and explore every inch of a place before running away from the rapidly respawning hordes; making for some edge of the seat situations where you want to stay in case you've missed that key piece of equipment you want, but are being faced by a solid wall of rounds heading in your direction.

                                                                                                                                                                                                                                                                                                 Source: Raptr
An example of the looting system in the game

There is another option Gearbox have given players to gain some higher tier loot that I find quite interesting; the meta-social interaction with the game and Twitter. Periodically, Gearbox tweet a "SHiFT Code" that gives the player, when entered in game, a number of "Golden Keys" to be used in the chest depicted above. There are no microtransactions or anything of the kind involved which is to be commended, however one can see why when you look at the structure of their DLC driven business model.

I won't delve far into the DLC "good or bad" debate as it is purely subjective in terms of whether you believe it is beneficial to the industry or not, however Gearbox have done a good job of delivering value to the player when it comes to the volume and price of each downloadable experience. Beware though, buying the season pass will not grant you access to all of the content available, merely about 2/3 of the actual gameplay packages for sale. There are cosmetic items available too, but they are more for co-op players as you only see your player from a third person view when you die or at a character customisation station.

Every gun in Borderlands 2 is said to be individual and unique, now sadly this isn't strictly true as you can find weapons such an acid shotgun that can feel and appear like another acid shotgun, but just "unique" in the damage or reload time stats. To be fair this is not something that is wholly noticeable as you usually retain the same weapon for quite some time, meaning that when you do receive another, it feels fresh and exciting to use. There's just something immensely satisfying about finding random drops from enemies or tucked away rare chests that make you anticipate what will be around every corner and buried within each enemy. Accompanied by the densely packed ammo and money crates, the game has you frantically spamming your collect button every time you see something that looks like it could hold something precious for you, ignoring the shots from your adversaries that are landing at your feet.

Speaking of enemies, and as previously mentioned, the foes you face are quite distinctive in Borderlands 2, but not in the variety of their mechanical design. They all stand apart through the lines from the script they blurt out, their visual design and the shrieks they make when you vaporise them. However sadly the same can't be said for their behaviour - often the AI is quite dumb and the actual categories of enemies such as "Bandit", "Skag", "Thresher" etc... all feel the same in their own groups, i.e. the melee versions of Bandits such as Psychos and Goliaths feel quite similar but just have a different process of death, whereas the ranged versions - Brutes, Shotgun Midgets and others feel homogeneous too.

                                                                                                                                                                                                                                                                                                  Source: FPSgeneral
                                                                                                                                      These. Get used to seeing a LOT of these.

Furthermore, they feel largely recycled; simply beefed up with new characteristics such as being augmented with elemental resistances or attacks and by midway through the game, you will have experienced every enemy type, leaving a stale taste in your mouth as you carry on the fight.

Personally I found that this made me see them more as loot crates on legs rather than foes to be defeated, however this is not to say that I didn't enjoy shooting them, it's just that the exchange actually did feel like a trade of numbers carried by bullets rather than a fully fleshed action game; different, but not necessarily unpleasant. I could even go as far to say that gun fights were like looking at a clockwork watch's cogs whirr around rather than looking at it's face - something that you know you aren't really supposed to be seeing, but interesting nonetheless.

One of the key things that the title does get right though is the player classes. For the base game you can choose to be Zer0 the Assassin, Maya the Siren, Axton the Commando and Salvador the Gunzerker. My co-op partner played as Salvador and seemed to thoroughly enjoy the way the mechanics worked for that character; being all about rushing into the fight with his special ability to dual wield weapons and dealing as much damage as possible. I on the other hand played as Krieg the Psycho, one of the DLC characters, which allowed me to experience just how varied, dynamic and satisfyingly strategic the characters can constantly feel throughout a playthrough of the game.

Every class is different; with their own skill trees and approaches to combat. You do have simple roles such as Axton the Commando who is most like the mainstream FPS character that uses rifles and is effective with any weapon on a mediocre scale. On the other end of the scale, you have Krieg the Psycho whose role it is to get up as close as possible, melee the enemy, cause as much damage as possible to himself and sometimes die for a tactical advantage. An entire skill tree of his character focuses on him being set on fire as much as possible to increase his damage, just going to show how deep some of the builds can be that you can create. Players are given real choice in how they want to tackle their Pandoran excursion and they benefit greatly from it, no playthrough will feel the same which is a testament to how well thought out the roles were by Gearbox.

Finally, it would not do Borderlands 2 justice if I didn't credit the visual beauty of the world they have sculpted. Pandora is a beautiful and extremely creative palette on which the designers have excelled in painting a world at odds with itself; physically tearing itself asunder in places. The engine is slowly ageing, however due to the cel-shaded graphics and the highly stylised approach, it was hardly noticeable for the majority of my time with it. Although I suffered sometimes from texture pop-in and some jagged edges, it's all forgiveable when you stand at the top of a mountain at one of the early areas and manage to see the skyline for miles around, which when the amazing lighting effects take hold, show exactly why video games are ever increasingly being considered a form of art.

                                                                                                                                                             Source: greenmangaming
One of the many pleasing landscapes you'll happily pillage your way across. 

As stated above, the stereotypical elemental areas are used a few times, however Gearbox has gone the extra mile in visualising an alien planet and portraying the fact that it is a foreign and unfamiliar landscape; features such as water that you think you understand can be deadly - punishing but never letting the smile fall from your face.

I thoroughly enjoyed my time with Borderlands 2; it felt like playing an amazingly cheesy sci-fi B-Movie and benefited greatly from keeping a fun atmosphere and tone. A game in every way, I hope that more developers take note of how to make AAA experiences original and stand so far apart from their counterparts.

8/10

Friday 21 March 2014

New Games Added V2: Expensive Boogaloo

So today was... expensive. 3 of my most anticipated games came out and I foolishly used my hard earned wages to buy them, I refuse to look at my wallet in disgust.

The software I frittered my cash away on is:

Metal Gear Solid V: Ground Zeroes (PS4)
                                                                                                              Source: Dualshockers
This should be an interesting one; a prelude to The Phantom Pain that's arriving late 2015, possible 2016, it apparently clocks in at a meagre 2-3 hours in length, even with extras. Sound disappointing on the surface, however it's supposed to be great. Since I've been loving the MGS series so far, I think it'll be a worthy edition to the backlog.


Infamous: Second Son
                                                                                                              Source: bp.blogspot
This has been a much anticipated entry to one of my favourite series on the PS3, I've deliberately shoved my head under the sand to learn as little as possible about this title, so when I get around to playing it I can experience it with a blank slate.


Final Fantasy X/X-2 HD Remaster
                                                                                                 Source: zomgplay
These were THE games that made me such a huge RPG fan. Words can't describe how excited I am to join Tidus and Yuna again in their quest against Sin. What's more, the visuals look incredible and the rearranged music sounds fantastic; it pains me to have to wait to play it. I just hope it won't be a case of "don't meet your heroes".

So those were the games added this time, all bought in one day and all equally as hyped up. Will they disappoint? Will they be great? Only time will tell. 

What do you think though? Please feel free to comment and tell me how good/bad you think they are or will be!

Sunday 16 March 2014

Brütal Legend Review (PC): Brütally Boring


When thinking about my time with Brütal Legend, three words come to my mind:

1) Confusing
2) Boring
3) Disappointing

There are a few redeeming features for this game, however they are few and far between - sadly you can't cover over an eclectic mess of game design with a "kick-ass" sound track and well known protagonist, then pretend that everything is as it's supposed to be.

The actual story is completely forgettable; you're a roadie who get's killed by a falling piece of stage and for some reason or another end up in hell where a struggle between humans and a strange demon overlord is taking place. For no particular reason the protagonist is the chosen one sent to help the humans win and you set out on a quest to gather an army and defeat the 'bad guy'. It's clichéd in the worst possible way and sadly doesn't live up to the normally exceptional humour and writing that you'd expect of Double Fine; I was cringing in almost every other scene. Knowing Jack Black, I'd be inclined to say that it was what he was aiming for, unfortunately it's rather an inside joke that no-one else is laughing at.

                                                                                                                           Source: Softpedia
"Aaaaaaand THIS is how you make a bad game."

The graphic design in Brütal Legend isn't really anything to write home about; it looks dated and suffers from a lot of issues; pop in, jagged edges and dull textures. Although this is true, the actual world you run around in can be quite interesting due to a lot of physical features in the landscape, such as discovering random statues of giant swords or tributes to famous songs, as well as some of the enemies. I was genuinely impressed with the first few types of foes you encounter as they seemed to fit in well with the general aesthetic. Sadly this doesn't last long and you spend most of the game fighting regurgitated versions of your own units with glam rock clothing on. I wish that I was joking.

The soundtrack is what you'd expect from a game starring Jack Black and being set in a heavy metal stylised version of what appears to be hell. Motörhead, Black Sabbath, Mötley Crüe and of course Tenacious D among many others feature and create some great moments when you are driving the God awful car around the scenery and near the start of the game when you are hacking enemies apart. Sometimes the game just feels like an extended music video montage that Jack Black himself sat there and imagined. Sadly that's not a good thing; I'd have had more fun sat in a dark room just listening to the songs rather than suffering at the hands of the messy game mechanics.

I feel this because Brütal Legend is between genre's; one minute it thinks it's an action/hack and slash game such as Darksiders and the next a very bad attempt at a blend between Overlord and many Tower Defence titles. I applaud the developers for trying something different, however there are times when taking a risk pays off - sadly this is not one of them.

                                                                                                  Source: Youtube via Littlemike421
The first few minutes of gameplay - this is literally the best it gets.

Just as you get used to one mechanic and the feel of the title, it introduces another that destroys the tempo. For example, one minute I was racing around the open world in the awful car to get to an area in time, then straight after that I was smacking enemies with my axe, then I was playing a rhythm game with my guitar to kill enemies, then I was forced to take part in a real time strategy tower defence game that made me manage resource nodes to spawn units to repel them from my musi stage. This all took place within just 10 minutes.

If by now you're thinking "Hey, there's nothing wrong with variety", I'd normally agree with you wholeheartedly, but sadly there's a fine line between variety and a lack of direction. The entire game feels misguided and blasts you with too many 'cool' things to do; as if a group of pre-pubescent boys with attention deficit disorders were given handwriting pens and told "tell us what you think would be awesome".

What you get with Brütal Legend, is the end result; a game full of guitar riffs, gore, profanity, cars with "go faster flames", sexy rock chicks, cliché jokes and all the other things that a 13 year old Metallica fan would love and cherish.

But how isn't any of that fun? Games such as Saint's Row 3 have been so excellent at making people suspend their disbelief and just laugh like a child again at all of the most puerile things - I'm personally a big fan myself. However this game just seems to miss the mark; it's like telling a joke that only you laugh at, in that the designers have set out to make a game that THEY found fun and that THEY understood, but didn't think of whether there'd be an audience for it. I was excited when I first started playing Double Fine's tribute to all things heavy metal, but sadly all I feel now is confused, bored and disappointed.

4/10

Borderlands 2. COMPLETE.

After a very long time, my co-op playthrough of Borderlands 2 as the Psycho class is finished!

It was a wild and exciting ride from start to finish - I'm very much looking forward to doing an extended review of my time with it; clocking in at around 40 hours with nearly every side quest complete (DLC not included)

Just before I write the review however, I'd strongly advise anyone reading this to find a friend that wants to play it with you and buy it ASAP. A great title in many, many ways!

                                                                                                 Source: i.chzbgr.com

Friday 14 March 2014

Catherine Review: Give Into Temptation

One of the main gripes people seem to have with the state of the video gaming industry today is that of ambiguity. There is a very narrow and blinkered view that the only games released are AAA grey and brown shooters or those games such as The Last of Us and Bioshock: Infinite that exist to tell a blockbuster tale with the same mechanical tropes as always.

These people need to play Catherine.

The best way to describe Catherine is that it's a Puzzle game with a gripping and insane story at its core; made by Atlus, it manages to balance gameplay with impressive story telling techniques which feel slightly reminiscent of the Persona series for obvious reasons. Now although this sounds similar to the type of game I was describing above, its the addictive puzzles and the content of the story that really makes this sleeper hit such a stand-out title for me.

You are Vincent; a thirty-something year old who has a long term girlfriend called Katherine. She is slightly controlling, highly strung and quite boring, but Vincent loves her, she is grown up and represents his commitment to being a adult. Recently, Vincent has changed jobs to a low paid but enjoyable role and has started to question whether he is ready to settle down. He spends every night with his group of friends at the local bar until one night when he wakes up with another woman (Catherine) in his bed.

Then he starts having nightmares.

Temptation or Fate?

The game is best described as 50% Visual Novel, 50% Puzzle and these nightmares are where the latter half of the game takes place. Vincent and hordes of sheep must pull, push, climb and fall their way up a wall of blocks before it collapses beneath them to escape the nightmare; working against each other and in some levels a giant manifestation of Vincent's innermost fears that is giving chase. If Vincent or the sheep fall, but don't wake up before they hit the ground, they die in real life.

It's extremely difficult to describe, but perhaps one of the most interesting puzzle games I have played; there are so many methods to beating the same level and it feels satisfying to ascend the wall to the very top, knowing that when you do, you get to talk to the sheep representations of the people you interact with in the 'real' world to find their inner secrets that you know that they're hiding from you.

Catherine keeps each stage varied by providing a series of variant blocks that change the dynamic and feel of each level; keeping you on your toes and suitably frustrated. After the first level things can get extremely complicated - I had to wheeze it up on easy mode by the end as I just couldn't take the feelings of inadequacy any more. However that's part of the enjoyment; the satisfaction of solving a puzzle and feeling like a genius - reminiscent of the rush you get from defeating a boss in Dark Souls or getting a good result from a really difficult piece of project work.

An example of the rather unique gameplay

Not only does the title have the story mode, it adds more 'game' to the cooking pot via the arcade machine in the bar you frequent every night called "Rapunzel" where the same principle as in the nightmare sequences is applied. Ontop of this, you also have 'Babel' mode for 1 or 2 players where random block sets are in play which prevent you or your partner from planning ahead; you work co-operatively to climb the tower together. Finally there is the 'Colosseum' mode which is a competitive, local split-screen variant of the puzzle aspect that requires you to race against the second player to be the fastest to climb to the summit of the tower. All add considerable length and replayability to the game and are a joy to play for hours after you have finished the main story.

But the great part of the title is the way that it strings you along. It's an extremely impressive piece of game design as the more Vincent strings along both of the women in his life, the more invested in the story you are. So when it drip feeds you cliffhangers every night, it makes you want to press forwards. But you can't until you've finished the series of puzzles in the nightmare phase. The game toys with you as much as your character and decisions do in the story, and makes you feel like the ignored partner that suspects the game of cheating on you, by pushing you to one side every time you get a gleam of the possibility that it is going to open up to you and confess its secrets.

On the flip-side however it can also be a big agitator. I found that the more the game went on, the more I wanted it to morph into a pure visual novel rather than a puzzle hybrid. It wasn't because of the lack of depth or the difficult puzzles, but more the fact that I loved the story so much, I never wanted the progression to end; rather than sudden walls that were raised after it just got good. It felt very jarring at times that something interesting would happen, then you couldn't follow that lead until you left the Stray Sheep bar and went to sleep.

Whilst on the subject of frustration, the controls in the puzzle sections of Catherine seem to actively work against you; sometimes performing twice the amount of movements that you wanted, or moving a block in the wrong direction which can cause you to have to reset the entire level. Additionally, the controls also killed me multiple times as you are required in some nightmares to move around the far side of the wall. Apart from not being able to see Vincent, the game reverses the buttons but in a strange way; forcing you to lose time to an unfortunately confusing mess of presses to get him visible again.

"Vincent, I'm sorry but you have to go around the back of the tower again."

Although I say this, Catherine still does plenty more to make this up to you. The soundtrack both whilst in nightmares and in the Stray Sheep bar for the story scenes is once again a fantastic treat from Atlus that like I said in my Madworld review, had me humming the songs long after I had stopped playing. The combination of well written characters that you care about along with this soundtrack can cause some great moments; whether you're browsing your phone and receiving dirty text messages from your mistress, talking to the weird and wonderful characters of the area or rehearsing the "techniques" mentally that you are shown by the sheep in the dream world every night. There is a heavy emphasis on atmosphere in this title and it benefits greatly from it.

Visually, this is almost a clone of the Persona games; I feel bad using them as a comparison, but it's just true. You can take a single look at the cartoony and overly exaggerated characters with the slightly more photo-realistic scenery and see that the individual feel of the games has carried over to make this feel like an extension of the series.

Independently and for those who haven't played a Persona game, the graphics are cel-shaded and characters personality traits are placed at the forefront of their appearance. The surroundings in the game are cartoony, but just appear to be photographs with a light artistic filter applied on them. Along with fantastic anime cutscenes, this is a gorgeous mix of visual elements and is unlike anything you'll see anywhere else.

But finally, perhaps the most important thing to mention about Catherine, is how it's a game that makes you question your own morality. It's a lesson in the fact that we all take our morals from the environment and culture around us, but challenges you on that matter. It allows you to make choices on whether you favour your long term girlfriend Katherine, if you prefer the new and exciting Catherine or if you just enjoy playing them both off against each other in some interesting ways that I will not spoil. It genuinely made me consider why I feel that cheating is wrong from the way it portrays Vincent's life and inner monologue; but by the end and due to the decisions I made, showed me exactly why I have the views I do on the matter.


It's a game that will stay in my mind for a very long time and an experience I recommend everyone to try. I was given it for free through PS+ (EU) but it can be picked up extremely cheaply for around £14/$20; more than worth the price of admission if you're looking for something new to try, but have been patient.

8/10

Wednesday 12 March 2014

Catherine. COMPLETE.

Wow.

Just wow.

What the hell did I just play?

I think it was a game about a man cheating on his girlfriend and then having a dream that he's a sheep that has to stack blocks to prevent falling to his death every night.

Not even scratching the surface with that.

I'm not even sure what I felt about this title, so I'm going to take a day or two so that I can gather my thoughts on it, then I'll do a write up.

On to the next one!


Monday 10 March 2014

The Hidden Secrets of Your Video Game Case

What if I told you that when you walk into a video game shop or browse a retailer online, they are trying to sell you something?

"HOGWASH!" I hear you cry; women and children fainting left and right from disbelief.

Well it's a fact, video games are products, and a large part of the sale publishers need to make stems from video game box art.

As a result, features and awards are plastered across the front of the boxes, forcing the characters and scenery to gasp for air, begging you to buy them.

So you take the box to the till, pay for it and walk off. But the box is still an ugly sales tool when you get home and take it out of the carrier bag. Hurray for capitalism.

Or is it?

Let's take two great games and show you what the marketing cover looks like:


These aren't terrible examples of clutter, but I find them pretty ugly as you have the logo's of the game studios that made them, the publisher, age rating at it's statutory size etc... as well as all of the blurb of the game on the back. Necessary before the sale, but afterwards....?

But most of your cases actually hold an awesome and from my experience, well kept secret. Let's take a look:



Firstly, open up the box and remove the manuals/dlc codes to reveal the secret art hidden inside. This is what the box artist actually wanted you to see, but still; it's facing inwards and not doing you any good there.

What you need to do is open the box all the way out flat so the outside is facing you. Then take out the cover from behind the plastic sleeve, turn it round so the inside you just saw is now facing outwards and replace it so it looks like the following images:



This is the beautiful and real case cover. Sadly not every game is like this, such as most EA titles (the mass produced EA games such as Fifa etc...). It shows a great deal of care and attention on the teams part and I think a great touch that can turn your shelf full of noisy and busy shelf of games into a beautiful mural of video game art.

Bonus points if the nice design fits on the front cover:


I hope you enjoy hunting through your PS3 games and some PC games (don't believe that 360 games do this) to find these gorgeous hidden gems.

Let me know of any games you find that has been hiding it's inner beauty from you in the comments section - and as always, if you like the posts, please feel free to like it, share it, tweet it etc... It helps a lot!

New Week, New Games! Volume 2

Now that The Last of Us has been dealt with and my co-op play-through of Borderlands 2 is nearing towards an end, I've decided that today I'll be embarking on a couple of new journeys.

The universes I'll be exploring this week are:

Brutal Legend
Genre: Action
Platform: PC
Length: 12 Hours

Literally all that I know about this game is that it's made by Tim Schafer and has Jack Black as the protagonist. Other than that I'm clueless. From the cover I expect it to be a story about a mystic guitar and it's quest to overshadow medieval war axe archetypes.

I'm hoping for plenty of 'School of Rock' references.


Catherine
Genre: Puzzle
Platform: PS3
Length: 17 Hours

Once again; no idea about this title. All I know is that it's about a man's guilt after having a one night stand with a woman called Katherine (with a K). Rather optimistically, I'm hoping for it to be a nice change of pace from the action based games I've been enjoying lately.


I'll be sure to write my first impressions if they're anything unusual!

Sunday 9 March 2014

The Last of Us Review: It's the End of the World as we Know it

There's a certain poignancy about the end of the world that I think everyone can relate to; deep down inside we all wonder what would happen if we were alone in the world and didn't have to take part in the regular 9-5 routine. This is what The Last of Us seeks to tell a story about; survival at it's utmost rawness, kill or be killed, live to carry on living, and oh boy does it get that oh so right.

The atypical video game seeks to wrap a great story around great gameplay and form a balance that allows users to feel immersed in the world - creating an interactive movie of sorts that people can lose themselves in. In the best of cases, it is difficult to separate these two dynamics, you enjoy both and shouldn't feel a disconnect between what you're controlling and what you're watching.

Sadly, for me, The Last of Us made me wish every step of the way that it was more of a 'Heavy Rain' esqué game, where you could get from A to B at your own whim without being dogged by repetitive and sometimes what felt like artificially difficult mechanics.

And yes, most of the time, the enemies are incredibly stupid.

Without delving too far into the story as to avoid spoilers, The Last of Us revolves around Joel; a man who lost everything, like many others when a fungal infection broke out and turned the majority of the world's population into murderous monsters, as well as facing people against each other gradually due to the need for resources. Joel is then given a task to transport Ellie, a young and very real character across the transformed United States for purposes unknown. Cue one of the best stories ever explored by an entertainment medium and a showcase of why video games are one of the fastest growing and most exciting art forms in existence.

Having been released towards the end of the last console generation, The Last of Us is quite impressive visually; normally when you think of how a dead planet looks in these kind of titles, you think of greys, browns and blacks. This game paints a colourful and believable repertoire of scenery, characters and objects that have all been aged to perfection and assembled in a way that frames Joel's quest in city streets, sewers, decrepped buildings, forests and other outstanding places, making you wish you could wonder freely, rather than being constrained with the industry's current obsession with funnelling the player in a set route and putting blinkers on what you can see and do.

Cities have quite literally become an urban jungle.

Another complement to the story is The Last of Us' OST; an emotional and breathtaking set of melodies that really set the scene and evoke feelings on demand. As a tool they could not have done any better, when the credits rolled and the final song played, I felt empty and drained but with the remnants of happiness from the memories I had that this song was drawing from me. The composers and musicians are to be complemented and regardless of whether you will play the game, you should take a listen to the music and hear the brilliance for yourselves.

The main gameplay mechanics in this title revolve around sneaking, shooting and platforming, normally in that order and in a cyclical fashion. This is due to the apparent obsession the game designers have with enemy encounters - you'll be wandering around and gathering supplies; reading letters from suitcases with a skeleton still grasping hold of it, detailing a person's frantic attempts to find his family and get home - feeling empathy and being drawn into this desolate world when predictably, you'll hear voices, or the clicking sound that indicates that your fungal friends are ahead.

Please do not mistake me in thinking that I'm saying that they never get it right, as Naughty Dog have proven that they are the masters of creating atmosphere in this game; quite a few scenes had me frantically running and sneaking around enemies to get to the objective before I was found, and had me backed into a corner with a shotgun, rapidly spamming R1 to kill everything coming my way in a fear that truly gripped me. But unfortunately most of the actual game revolves around you either killing or sneaking around X amount of enemies to get an object or to get through a door before the game forces you to kill them anyway. It's extremely sad as it's so noticeable, in some scenes, it slightly ruined my experience, although it others it added to it, it's quite hit and miss and based heavily in the context of what is happening in the story at the time.

Sometimes the game leaves you with no option other than to panic and waste ammo. Clever.

This is not to say that the designers haven't tried to make the actual game sequences more fleshed out; there is a crafting mechanic for weapons that has you searching for scrap in the scenery and an upgrade system that can improve Joel's powers, even if this is just by taking large amounts of pills found lying about. Ultimately however, these feel slightly redundant as resources are so scarce and enemies are so many, in some cases I literally just sprinted past all the enemies are ran through the door with no consequence and a feeing that they were supposed to feel more sinister than they were. In fact after a while, due to the repetitiveness, enemies stop feeling like genuine threats and start feeling like barriers to your end goal, either worryingly bad for this type of story based title, or extremely clever on the writers side - forcing you to kill or avoid enemies to survive. I'll leave that to your interpretation.

I actually found that for most of it, I was butting my way through the actual game just to get from cutscene to cutscene, something that imbalanced the gamer in me slightly as I felt that the two elements should work in unison, not fight with each other or encourage one to be worse or superior than the other.

But it's this theme of duality that works beneath the surface of the story itself that I think the game is trying to put across. Joel is a broken man; fighting internally between his need for survival and his need to feel something, the part of him that makes him human rather than a psychopathic murderer - something I think the game actually approaches very well, even at one point showing that murdering literally hundreds of people has an effect on how people see you.

The eyes of a psychotic killer, or the eyes of a desperate survivor?

The gameplay is the survival aspect of Joel's personality; necessary, rough and repetitive - showing the fact that humans need to do certain things in this world on a regular basis to stay alive. Survive this situation, survive that situation. Rinse and repeat. Whereas the cutscenes represent Joel's emotional side; his capacity to feel is emphasised through the emotions conveyed to the player, performed in a way I've never seen done before in a video game, varied experiences, intense and emotional dialogue and gorgeous framing that shows another need for humans in this post-apocalyptic world.

It truly sets a standard for how amazing stories can be for the industry, and it's writing like this that will allow this art form to be taken seriously in the future, rather than simply being something with certain negative stigmas and stereotypes. Characters you favour are ripped from you, characters you hate aren't bought to proper justice, you laugh, you cry, you feel happy, angry and every emotion under the spectrum, leaving you gasping for more by the time each cutscene ends; something that is somehow pulled off so much better than most AAA blockbuster movies have been in modern times.

As I finish this quasi-review, I can't help but think to myself that this is exactly why I set out to finish my backlog; to experience the stories and new worlds video games can offer, in a way that many other forms of entertainment can't. I came back to this title after becoming so frustrated with it that I couldn't bring myself to play any more; now relieved as I have ever been that I saw fit to come back to it and push my way through. No matter how bad some parts of the experience were, I will always remember The Last of Us as part of my gaming renaissance; the title that reminded me why I play video games and why the games I finish are the ones with an amazing story versus gameplay gimmicks.

8/10

Friday 7 March 2014

The Last of Us. COMPLETE.

So after the second attempt at finishing this game, I've done it.

The credits are rolling as I type this and my feelings about this title are so very mixed. It's going to be interesting to see what I think of it as I write it up.

I'm just amazed and proud of what the video game industry can do for story-telling. Shame about the actual game in this case.

Expect a review by the end of the week.


Thursday 6 March 2014

Mad World Review (Wii): I Find it Kind of Funny...

The Wii as a console left a legacy of wishy washy bloatware titles full of mini-game collections and movie tie-in games that weren't worth the plastic they were printed on; leaving a bad taste in many of the Nintendo loyal who had invested their money and time in waiting for the killer game to own the console for. In saying this though, there were a few games that genuinely deserved a chance to get their head above the water and be recognised as decent and enjoyable.

Mad World is one of these attention deprived sleep successes (not in sales), in that it's a cheap and enjoyable roller-coaster ride of obscenity; be it gore, crude jokes and partial nudity, Platinum Games have created the anti-thesis of a Wii game.

Mario on his off day

This isn't to say that it isn't perfect for the Wii however. Although the market is clearly miniscule for an 18 rated game on a family console, it still should have sold better than it did, mainly for its unique style and mechanics that were designed for the wand and nunchuck, as opposed to the vanilla range of Mario titles that have turned a company once known for their innovation into ranchers that are merely prodding a cash cow.

Mad World is an ultra violent, proto-arena based beat-em-up game set in a black and white cel shaded world where Jefferson Island (New York) has been sprayed with a deadly virus and the only way to get a vaccine is to take part in the "Death Games". The resulting situation is where neighbour kills neighbour and gangs from around "contestants" (the best psychopathic killers) who are given ranks; the higher the rank, the more the contestants are paid.

Enter "Jack" - the playable character, a man who has been sent onto the island for mysterious reasons to become the #1 contestant. With one iron arm and an extendible chainsaw mounted on it, he punches, throws, stabs, tears and saws his enemies apart one by one in open arenas, where each kill scores points. When your points are at a certain level, events unlock that allow you to kill more creatively and ultimately follow onto to a boss battle with the next 'contestant', so that you can progress to the next arena, then the next, then the next, rinse and repeat.

This repetitive nature of the game is essentially the biggest issue with it - you are killing people and fighting the boss so that you can kill more people and fight another boss. This is essentially what all video games boil down to, however most go to more effort to hide this fact or at least sweeten it up with some variety in enemy types or added abilities. Not to say that Mad World doesn't try though; some levels have unique foes that have special abilities such as a 'one touch death' attack and weapons are bestowed onto the player to try and vary how Jack feels when controlled.

On the subject of controls, the Wii was a great choice when Platinum Games were thinking of making this game - waving around the wand and the nunchuck feels like a perfect compliment to the madness happening on screen and Jack seems to react well to the commands given to him, apart from in some of the mandatory quick time events. Sadly, the game does come down to waggling the controls around wildly in bigger fights, however the fun from the combat comes from using the environment to kill enemies in often hilarious and satisfying ways. But after you have mastered the arena and mapped it out mentally, it becomes a stale routine of picking up and throwing enemies into meat grinders and saw blades just to get enough points to finish the levels.

The visual design of Mad World as mentioned is a slightly jaggy black and white cel-shaded world, only interrupted by bright red splatters when enemies are attacked and killed. The enemy appearance varies wildly, but sadly is not very good at hiding their very similar attack patterns and abilities. The bosses however are very well created; all extremely different and all better off for it. They follow the theme of the level and are memorable for their overly stylised appearances and adherence to overemphasised cultural stereotypes, only adding to the wild and wacky comic book appeal of Jack's adventures in New York.

What's black and white and red all over?

Where Mad World truly shines is the application of the sound design - something Platinum Games is very well known for; in this case they definitely deserve a round of applause. You'll literally never hear a soundtrack like it; people spitting out words at high speeds to a techno-rock-rap track which literally never gives you a respite. It compliments the gameplay to no end, urging you to continue so that you can see how the track will evolve at the different events and the boss battle; leaving you humming the last level's track in the loading screen for the next.

This is exactly the brilliance of Mad World - I would liken it to a tube of Pringles; you take the first bite and enjoy it so eat more of them, then between bites think how good they taste, until you get about half way and realise that they are all the same. But just like Pringles, you think "eh... I'll just finish them anyway." A video game in every sense of the word, Mad World is a fun Theme Park of action that deserves a play if you can pick it up cheaply.

6/10

It's That Time of the Month... New Games Added!

As I'm a PS+ subscriber in the EU, at the end or very start of each month, I get given a handful of free and full titles from the Playstation Store. I'll sum up the games that I've added to my database from March's selection:

Dead Nation: Apocalypse Edition
Console: PS4
Genre: Action
Length: 7 Hours



Tomb Raider
Console: PS3
Genre: Adventure
Length: 15 Hours


Brothers: A Tale of Two Sons
Console: PS3
Genre: Adventure
Length: 3 Hours


There are a few others that you get for Vita: "Are You Smarter Than...?" (Quiz Game) and "Pixeljunk Monsters Ultimate" (Tower Defence) but they aren't technically completable games or anything I'd like to sink my time into.

THE LIST JUST GET'S BIGGER AND BIGGER!

Saturday 1 March 2014

New Week, New Games!

So now I've finished Deus Ex and forcefully abandoned Kingdom Hearts, It's time I picked some new games to replace them!

My Choices are:

Mad World

This highly stylised hack-and-slash-'em-up looks like great fun; clocking an average playtime of 5 hours, even with finding everything. It's the first Wii game I'm tackling on my list, so I'm hoping using a wand and nunchuck will give a bit more variety than the game pads I've been using thus far.

The Last of Us


To be honest, I tried playing this game a few months back and hated it. The story was great don't get me wrong; I just felt that when you were given freedom to play the game after the amazing cutscenes, it was a repetitive game where the mechanics were as such:
  1. Try to sneak past enemy (infected or human)
  2. Successfully sneak past enemy
  3. Get caught due to a scripted event
  4. Rinse and repeat until you leave the area
Now I think it's an unpopular opinion, but I believe that is only due to all the hype around the game when it first came out. Not a terrible game by any definition of the word, but just not as great as people make it out to be. I only got to the High School area which I'm told isn't very far at all, so will be continuing from there!

Every game deserves a second chance.

It's going to be a good week!

Friday 28 February 2014

Deus Ex: Human Revolution: Directors Cut Review

Ingenuity. No matter how awful we all are as a race, the one thing that always impresses me is how we are constantly able to overcome problems; no matter how long or how high the cost. One of my favourite quotes about human ingenuity comes from this game - "We were cold, so we harnessed fire. We were weak, so we invented tools"; I'm pleased to say that this game is a remarkable invention that recognises the problem that the gaming industry is facing of boring and repetitive game play mechanics and creates a repertoire of tools that not only fix the problems, but augment the idea of achieving objectives in games

This is the core idea of Deus Ex and always has been - deceptively shallow on the surface; "Go to objective marker A and talk to Person X", but immensely deep in the torrent of ways in which you can tackle the issue at hand.

The way the designers have created these options for the player is through the system of augmentation that falls in perfect alignment with the story. You are Adam Jensen; a former SWAT member who through a series of events is now a security chief at Sarif Industries, one of the worlds leading designers and developers of human augmentation technology. Without revealing too much of the story you somehow become augmented with cybernetic implants and plunged into the world of corporate espionage, the underbelly of the upper class and a global conspiracy that threatens the entire human race.You further upgrade your character through gaining 'Praxis Points' by completing objectives, conversations and side missions, as well as a minor gun crafting mechanic that allows you to improve your weapons to take down enemies skillfully - the more creative the better.

Jensen is a shadow of his former self

Jensen on the whole controls gracefully, darting around cover at the touch of a button and can realistically slink around objects to make a believable character in motion. The stealth gameplay is rewarding and provides you with a real sense of satisfaction when you come behind multiple guards and disable them without them even hearing you coming. The shooting (if you engage in any) can at times feel unsatisfying, but I think that is more to do with the fact that the game is primarily meant to be experienced with a low level of intense combat; I wouldn't say they punish the player with poor mechanics, but I'd say that the shooting definitely feels like an afterthought. Jensen is supposed to rely on his augmentations and the powers they grant him to survive.

It's the depth of the powers that you can gain which gives you such variety in gameplay. I personally played the game non-lethally so focused on upgrading stealth skills and my hacking abilities. In doing so, I was able to get through an encounter which from my evaluation had 3 options:
  1. Shoot the enemy with a very powerful rocket launcher until they die.
  2. Disable the enemy repeatedly with EMP grenades and try to tranquillise them.
  3. Sneak around and find an alternate way to end the conflict.
I took the latter option; choosing to sneak upstairs past the enemy to try and find another way of beating the enemy, as my character was a Jensen who was depressed by the death of a loved one and was accepting of his new life as an "Aug". As a result he avoided combat when necessary as he was tired of death and aggression. I still find myself shocked over how the title was able to inject an internal narrative into me that gave the PC personality traits and defined what the term "character" means.

I found a series of valves which when turned, released gas to the room below me, which choked my enemy and slowly wore her down until she managed to work out what was happening and lunged upstairs towards me. I panicked and had Jensen turn the turrets against the boss character through a very fun hacking mini-game; persistent across the entire world, that actually requires skill, to take control of the connected terminal, which ripped her to shreds and left me confused as to why I made such a decision when no-one had died by my hands otherwise.

The very fun hacking mini-game - play it the way I did and you'll see this screen a lot.

It's moments like this which make the game so satisfying; if you replayed the same scenario repeatedly, not only will you get different outcomes in the story and different dialogue options, you will feel differently about the world Jensen lives in and how you have affected the environment around you. At one point in the game you can literally turn an entire base against the characters inside by hacking one computer. You feel like a cybernetic God, the power grand but disturbing.

That's the essence of the title - in it's beauty, Deus Ex finds it's darker side. The homeless litter the streets, desperately searching through bins for anything of worth to eat, drink or feed their neuropozyne addiction from their rejected augmentations, gangs size you up and down, wondering whether you'd be easy enough to kill and salvage for parts, people judge you silently; throwing abuse at you for simply existing. It shocked me. Having luckily never been a victim of discrimination before, I felt rejected and disappointed that a character who I'd never met before simply turned to me and shouted "F*** off Aug, no-one wants you here". It's a clever piece of social commentary that seems obvious on the outset and "edgy", however until it's experienced, you can't quite put a finger on how it feels.

Futuristic China (Hengsha) in all It's glory

As mentioned, the world of Deus Ex is stunning, the scenery for the most part, built with a sharp utilitarian dark brushed steel and painted in a gorgeous but dirty golden tinge that makes Detroit, China and the part of Canada you visit feel like a future with a clear wealth divide. This is because as you walk away from the grand, well lit structures of the multinational corporations that rule this virtual world, to the dark and gloomy slums, you understand why the golden hue is so dark; the upper class in this game are wealthy, but at a cost that blackens the splendor of it all by the time you see the credits roll. 

Although this is true, the game does have some issues with it's visuals that seriously break immersion, such as it's murky and poorly detailed wall textures and inside of ventilation shafts; quite a problem when you spend a lot of the stealth game play travelling through vents and looking at walls, as well as sky boxes that don't move with the player and some backgrounds that are static and badly drawn, as well as being extremely low resolution. This is unforgivable in modern AAA titles, especially in a Director's Cut that promises vast improvements over the original.

"I didn't ask for this."

In terms of the sound design, Deus Ex provides you with a constant hum of a futuristic synth-opera which slowly envelopes you into it's virtual world; it seems to pick you up whenever there's some action and pull you back down when you are sneaking with no noticeable change. It's gentle, but effective - all part of it's magnificence.

However, once again Deus Ex does suffer from problems with voice overs. I repeatedly found people's twins; both in in voice and physically - something that yanked me out of this new reality that they had lulled me into with a harsh tug. Although these are small things and something which I oddly got used to after a while, it just became something I ignored for the sake of the experience. The main characters are well voiced; from the rough, husky voice of Jensen to the strange, harsh tone of Tong, the conversations are something I didn't skip through so that I could listen to every word the characters had to say.

The one thing I want you to bear in mind while reading these negatives I've listed is that these are extremely minor things and although as I've said they can cheapen the ride that the game puts you through, it is still not enough to dull what is a very sharp and streamlined game where the positives are too many to list.

To end this write-up, I want to leave you with this: "Deus Ex" comes from the Latin phrase "Deus Ex Machina" which when translated literally means "God From the Machine". In this instance, there could have never been a more aptly titled game, as it literally creates a rich and fulfilling world which makes you question your existence in this alluring dystopian future - the entire game probing what it means to be alive. I've never played a title like this before and I probably never will again; but in saying this, I'm happy with that; I can mourn and move on past the "what if's" and "could've's" and simply reminisce about the time spent with Adam Jensen and his struggle to steal fire from the Gods.

9/10