Ode quick review: Another interesting indie title from the devs behind Driver and Grow Home. A short but sweet musical and visual extravaganza where you hop around collecting and tagging orbs while the music evolves as you go. http://pic.twitter.com/4bhSylLEUR
— LifeOnTheGrid (@lifeonthegrid) December 4, 2017
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Though I am not versed in the ways of Simon’s Quest, I am someone who believes in the importance of modern history, in the context of games. I believe we have enough modern classics in some franchises to have an informed discussion without having played the ‘golden oldies’, so I will primarily be dealing here with the Castlevania series from 1997’s Symphony of the Night onwards.
So what is the best way to move on within a much-loved franchise? Do we take the parts that we love, and concentrate on developing them and taking them further while keeping everything that works, working? Or can a deeper change be the only real way to move on?
In 2010, Konami seemed to believe the latter. Their thinking was that in order for the series to evolve and stay current, it would have to transition into the third plane.
This is a common assumption by many developers, which in this gamer’s opinion, seems not dissimilar to the assumption that every game nowadays must have an epic storyline with extensive, melodramatic dialogue, likely entailing explosions and the good guys winning in the end.
So, along came Lords of Shadow, the flaws and merits of which could comprise an impressive list each. The most notable of the former however, was that it felt like a patchwork blanket, stitched together from pieces lifted directly from other contemporary games (most notably God of War and Shadow of the Colossus), with some mythical creatures thrown in here or there, to give a smattering of the Castlevania flavour.
We did get some werewolves
The fact is though, that LoS became the best-selling Castlevania game in the history of the franchise.
Is this because it appealed to simpler gaming tastes and blockbuster sensibilities? Frankly, I believe so. In and of themselves, the game’s marketing and AAA aesthetic don’t make it a bad game, especially as there are plenty of great things to say about it. However these flashy elements by no means automatically make a good game either. The mixed reception and sales success of the following two games in the series, which trod a similar path, illustrate this point.
So if 3d plus werewolves do not a good Castlevania game make, then what does? And how does Castlevania make the ‘inevitable’ jump to 3d??
Well, let’s go back to the golden age of Castlevania, which began with Symphony, and continued in the resulting, influential subgenre ‘Metroidvania’, (denoting incremental exploration of an interconnected 2d map in gameplay similar to the games of the Metroid and Castlevania franchises), up to and including 2008’s Order of Ecclesia.
The importance of Symphony lay not just in its quality as a game, but also in how it defined what came after
In particular all of the handheld titles released in this period garnered critical acclaim, with Symphony itself appearing on many a ‘Greatest games of all time’ list, as well as being the best-selling title in the series up until the release LoS.
My proposition is that with this magnificent 2d pedigree, a move into 3d may have been at best, unnecessary, and at worst, misguided for the franchise.
“So should all new Castlevania games just be Symphony clones??” I hear you protest!
Indeed, all of the handheld titles following Symphony did carry the torch of its greatness, but not just that, however—they also continued to explore and improve the formula even further—The greatest example of this being 2005’s excellent Dawn of Sorrow.
But just because something is created in 2 dimensions, does not mean it is limited in how great a game it can be; a game can be expanded or improved by more things than an extra physical dimension. Brave ideas, like Symphony‘s inverted castle revelation, or new elements, like the tactical soul system introduced in 2003’s Aria of Sorrow pay testament to this truth.
The tactical soul system enabled Soma to do funky stuff like this through —duh— stealing the souls of monsters
There is a list as long as my arm of incredible 2d games, just in recent years (games such as Muramasa: The Demon Blade, Ori and the Blind Forest, and even the innovative classic Braid come to mind), the trouble is that gamers and developers alike seem to think of 2d as old, and old as bad.
Even if it could be seen as such however, then recent history actually tells us that this should not be a bad thing, when one looks at the astronomical success (critical and commercial) of the ‘old-school RPG-style’ Souls series; there exists a great majority of gamers who no longer just want something new and flashy purely for the sake of its being so—what they desire is the substance beneath the shiny 3d carapace.
With the LoS trilogy, we can see a game series struggling with its identity while trying to develop. I truly believe the series could have made a successful transition into 3d here, however out of fear of falling flat, it grabbed on to too many things around it at the time; what all the other cool games were doing (combos, quick time events, finishing moves, climbing…), and this polluted its identity to the point where it felt characterless.
Konami had decided to move away from a style of game that had brought them much praise, for the chance at something new and bigger, and there is no shame in this.
Unfortunately however, I feel many game developers, and gamers themselves, fall prey to the trap of the AAA aesthetic, because they begin to think of games too ‘vertically’ (bigger, longer, better graphics). Alas, this can be defeating, as it leaves little energy for thinking laterally (new ideas, systems, ways of playing), and this is where Konami got lost—they put so much effort into thinking about how best to transition to the blockbuster world, that they hadn’t thought enough on whether they should, or on what it really is that makes a great Castlevania game.
Enter legendary producer Koji Igarashi (Affectionately named ‘Iga’ by his fans): A passionate man and one of the minds (many would say the mind), behind Symphony. As a result of his heavy involvement in all of the greatest titles in the series, he has come to be recognised to some extent as the soul of the series, and as someone who acts as the barometer for that certain ‘Castlevania quality’.
Now creating a new game entitled Bloodstained: Ritual of the Night, Iga wanted to demonstrate to potential funders the demand that still existed for 2d Metroidvania-style games, and so he created a Kickstarter campaign for the game. The total funding target was optimistically set at $500,000.
Ultimately the campaign ended up raising a total of $5,545,991—over eleven times its original goal.
The prospect of Iga’s new game prompted gamers to smash the Kickstarter ceiling
Iga had done it, and then some. It is hard to think up something that could more definitively prove to developers the ongoing relevance of 2d games. The money had spoken volumes.
Now, as Konami’s future is uncertain to say the least (they recently announced that mobile games ‘are the future’, and that they will be concentrating most of their energies on that from now on), it does not make me glad that we may not see another 3d Castlevania game on consoles, as I truly believe that there is some way for it to work.
I am glad however, that there was one who was never taken by the pull of perceived vertical progress, and always kept the spirit and gameplay of the series in the driving seat.
Iga’s victory, I feel, has been a humble victory for games.
This guest post was provided by Rory Gibson.
The post Editorial: Why does Castlevania need to be 3d? appeared first on Life On The Grid.
Layers of Fear piqued my interest when a friend pointed it out to me while it was still in Steam Early Access and an unfinished yet promising state. It had been “painted” *rimshot* as a spiritual successor to the likes of the Silent Hill series where psychological horror and the surreal abound. I decided to wait for a full release and enlisted the help of a few “co-op buddies” to play through the game in segments by passing the controller around. With the team and game ready to go, we dived into Layers of Fear.
What’s under the sheet?
The game takes place from an entirely first person perspective, with the player taking on the role of a troubled painter endeavouring to complete a great masterpiece painting. As he does so, he travels around his large home and this is when things all start to go wrong. It becomes evident that the artist’s mind is not quite what it used to be. The fabric of begins to shift and crumble, as does the layout of the house, as the painter goes in search of the unique materials required to complete his masterpiece.
Things start to go south quickly
As he moves through the halls of his mansion, the layouts constantly shift, opening new paths and passages that did not exist before. The path through the game is created this way and is mostly linear but this is understandably done this way to allow for the narrative of the game. A few times you are given the chance to explore optional routes but little usually comes of them.
Some corners are best left unexplored
This constant shifting of the house is initially quite unnerving but sadly is heavily over-used and gets to become quite routine and eventually even expected. You will recognise the pattern that when you have hit a dead end, what was behind you has probably changed to unveil a new way through and this aspect of the atmosphere ceases to be scary.
Some situations can become a little predictable
Another large narrative device includes finding notes and pieces of paper along your route that provide exposition regarding the artist’s life, his family and how everything came to be in the current state that it is. Some of this is genuinely chilling to read and if you pay close attention to your surroundings, you can later connect dots between events you have seen and things you later read about them, tying past and present stories together well.
Newspaper articles and the artists scattered notes provide insight into the events surrounding the game.
With this being a game about artists and art, most would expect the visuals along this journey to be of a high standard and Layers of Fear definitely does not disappoint in that department. Every environment features a high level of detail and is masterfully crafted. The visual effects caused by the artist’s questionable state of mind are brilliantly realised and give you a real idea of what it could be like to be descending into madness.
Well that doesn’t look quite right.
Being a horror game, it would not be complete without jump scares. There are a few in Layers of Fear but not a great deal as the game is more focused on psychological horror. There are also 3 different endings you can achieve depending on actions taken (or not taken) during the course of the game. These actions are quite obscure unfortunately and without a walkthrough detailing them, you are unlikely to get anything but the default ending.
Layers of Fear should be applauded for trying something new and different. Being one of the few games that tries to simulate mental illness, (another example being the GameCube’s amazing Eternal Darkness) it is in a rather niche genre but it could also be classified as “a walking simulator,” a term given to newer games such as this, Firewatch, SOMA, etc. where a player explores environments while being told an interesting story. There is not a great deal of interactivity to this game, except for some fairly basic puzzles dotted around the place. One lengthy puzzle near the end of the game was much more annoying and repetitive than fun sadly. For someone looking for a lot of action this game may not be for you, but if you like a good story filled with tension and nerves, this is definitely worth checking out. It can easily be completed in a single evening and should run about 3 hours.
Many thanks to Evolve PR for providing this game to me to review.
For more information see the Layers of Fear website
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Like most people, I had heard all the buzz and theories around P.T when it came out and afterwards as well. But not being in possession of a PlayStation 4 at the time, sadly I was unable to play it. And also like most people, I was deeply saddened to hear about Konami cancelling the full game Silent Hills which P.T. acted as a proof of concept for. I was saddened again and shocked when they also decided to pull P.T. from the PlayStation Store completely not even allowing those who already owned it to re-download it. Effectively erasing it from history. So anyone who missed their chance to download it at the time or who had it and deleted it will never get it now unless they buy a machine with it pre-installed or go through some quite lengthy procedures to share it with a friend. Fortunately for myself however, a good friend of mine was one of the lucky ones who did download and keep it on his PlayStation 4 so we teamed up with a third friend to brave what has been called the scariest game ever made to see if all the hype was true.
The first person view and narrow hallway makes things very claustrophobic
The entire game takes place from a first person perspective. So you see everything as your character in the game sees it. This different viewpoint choice which contrasts from the usual third person of previous Silent Hill games seems to have been done mostly for cinematic reasons. The older Silent Hill games feature a lot of combat so the third person view is important to be able to place enemies and yourself effectively in battle. P.T. features no combat and the first person view is in place specifically to limit your field of view. From this perspective you can only see what is in front of you and not anything that is behind you. But that’s not to say you won’t be able to hear things behind you… Whether you turn around to see what’s making that noise is a choice that you have to make yourself.
Oh fuck
The basic premise of Playable Teaser is that you are stuck in a long L shaped corridor. This corridor consists of a couple of chests of drawers that have various objects on them, a bathroom and a door in and out. The game operates in cycles and you must perform certain actions in this hallway to make the door out on the far end unlock. But once you go through this door, you will be back at the start of the L shaped corridor where you came in. However, each time you do this, things change a little and you must do something different to unlock the door again and get to the next “cycle”. That is the basic premise, but as usual, the nuance is in the details. You do not know who you are or why you are here. Maybe if you’re lucky you can piece together some of it….
Various pieces of family history and life are strewn about the corridor revealing snippets of the lives of the people who lived here
You will be introduced to a hostile ghost very early in the game referred to as “Lisa”. Lisa is a tall woman who appears to have had an eye gouged out and wears a single high heeled shoe. The first time you encounter this creature is nothing short of terrifying and this terror is enhanced by the first person perspective as well as the feeling of being locked in this narrow corridor which no way to escape and no way to defend yourself. This game utilises jump scares quite readily (usually with Lisa) but they do not feel cheap or just there to try and artificially make things more scary than they are. This game is already extremely scary even without jump scares so they are just one more trick it has to make you afraid. Lisa’s single piece of footwear also gives her a distinctive clip-clop sound of her footsteps which is utilised excellently to increase your paranoia.
OH FUCK
As you progress through multiple cycles of this corridor, things get stranger and more disturbing. Without wanting to give away too much or spoil anything, I can only say that it goes to some very unnerving places. There is a radio in the corridor that will sporadically announce local news reports giving you pieces of the story and allusions as to what might have happened in this house. It will also occasionally break the fourth wall and talk to you directly or begin to muse on what could be happening to you which only adds to creepy and unsettling atmosphere.
JESUS FUCK
The atmosphere is definitely the outstanding element of Playable teaser. Veteran gamers who have played a lot of survival horror games have probably now developed a high tolerance for the strange and disturbing things seen in horror games, but Playable Teaser brings it to a new level. Having played and seen played many horror games myself, I am here to tell you that this is genuinely the most frightening game I have ever seen or played. As mentioned before, I played it “co-op” with two other friends and each time one of us completed a cycle and moved into a new iteration of the corridor, we passed the controller on to the next person. Each time, the player relinquishing the controller felt a huge sense of relief and the player being passed the controller felt a great sense of dread. It had us all inching forward and peering round corners slowly and carefully in apprehension of what horrors we would see next.
FUUUUUCCCKKK
The one weak point is what at times feels like artificially imposed difficulty which is caused by the extreme obscurity of some of the actions you must perform to progress through cycles. In the early cycles, they are not too difficult to find and can be figured out with some exploration and experimentation, but towards the end of the teaser, the last few actions in particular are all but impossible to figure out on your own without spending hours or days hoping to come across them by sheer luck. Our time was limited the evening we played this so we were forced to resort to a walk through to complete the last section and once we saw what we were meant to do, we all were in disbelief at the pure obscurity of it.
The mood lighting is not helping. FUCK
Playable Teaser is without a doubt the next step forward in horror games and is a horrifying vision of what the next Silent Hill could have been. Sadly though due to Konami killing it off, P.T. will be forever relegated to the pages of history as a tale of what could have been. For anyone who downloaded it at the time and never played it or has access to it on someone else’s PlayStation 4, I highly recommend you give P.T. a try. It can be completed in a single evening if you are brave enough and is a piece of gaming history that everyone should witness first hand. I can only hope that something, anything, can come of this amazing proof of concept. At least is has inspired some others to have a go themselves.
Okay time to leave. FUCK.
I played through this game with my good friends Eugene and Tommy, the latter of which is the PlayStation 4 owner kind enough to let us join in.
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Anyone who has played any games in the Resident Evil series, particularly the newer action orientated ones and especially Resident Evil 4 will find a lot of familiar ground in The Evil Within. The main reason behind that being that it was directed by the main man behind Resident Evil, Shinji Mikami. As mentioned, it shares most in common with the ground-breaking Resident Evil 4 and feels like a natural evolution of the game-play from that game. Allow me to elaborate.
Things start weird and only get weirder
In The Evil Within, you play Sebastian Castellanos who is voiced by the main character Cullen Bohannon from the excellent AMc series Hell On Wheels. This southern twangy accent gives him the feeling of a modern day cowboy which fits into the theme of the game well. Sebastian is a member of local law enforcement who has been called in to investigate a disturbance at a nearby mental hospital. The minute you set foot in the door you can feel that something is very wrong in this place and as you investigate things rapidly go downhill. You are immediately and inexplicably brought to a strange and disgusting place full of hideous creatures and can do nothing but run the hell away. As you progress, you collect weapons and various other means of defence but you always feel extremely vulnerable as you move from one horrifying place to another again each time with no explanation as to how or why it is happening. This creates a strong feeling of disorientation and confusion leaving you on the back foot always trying to figure out the mystery of what exactly is happening while trying to not die at the same time.
What in god’s name?
The one place you are brought to which does offer a small piece of solace and act as a sanctuary is the abandoned hospital which you can travel to by staring into cracked mirrors (very little in this game makes sense). This abandoned hospital is staffed by a single nurse and plays music that is strangely familiar and soothing.
This nurse is clearly trying to comfort and calm you with and uses mostly the right words but her voice shows no concern or emotion whatsoever so her efforts are quite in vain. In this hospital you are safe from the monstrous creatures that hound you and can further comfort yourself by saving or collecting bonus items or upgrading your weapons and skills. This theme of a safe haven where the danger cannot reach you has been a common theme since the first Resident Evil game and carries through them all even to this spiritual successor of the series. But this time, your happy place is larger and has more ways to aid you. But as comforting and safe and warm as this place is, you know you can’t stay there forever. You know that once you’ve done everything you came there to do that you will have to leave this oasis of calm and once again go out to face the horror and defeat it.
The hospital and it’s peculiar nurse is your only bastion of safety
As you progress through the disgusting and disturbing places, you will realise just how scarce ammunition is. Over the course of the game you do collect a decent amount of firearms, but ammunition to put in them is incredibly scarce. You do not have anywhere near enough ammo to kill everything, or even half of everything, using your weapons so you soon learn that wasting shots is a definite no-no and if you are going to shoot, shoot to kill and do not miss. This scarcity of ammo further reinforces your feeling of vulnerability in this terrifying and disorientating place and forces you to find other ways to dispose of your enemies such as sneaking up on them and going for the stealth kill or using the environment around you as a lethal weapon. But there are still some situations where none of these options are valid so the only thing you can do is run away and hope for the best. Being able to identify how to handle different situations and identifying which ones are no-wins that you should run away from is one of the trickiest things to get used to in the early game and early uncertainty may cause quite a few deaths before you get a feel for it. This is not a game where you run forwards feeling confident and powerful dealing with anything that comes your way easily and on the fly. You creep slowly into each new room carefully and feeling very unsafe evaluating it and it’s contents thoroughly and gradually developing a plan of action.
Go carefully. Go very carefully.
Some ways into the game, you are provided with a unique signature weapon for which you can craft a variety of special ammunition. But again, the materials to do so are quite rare so even this becomes a special use weapon as well reserved for dire circumstances. It does however provide some pleasant variety to the usual by the numbers array of hand weapons. There is also the added bonus that some enemies will not stay dead unless you set them on fire. And as usual, your means of doing this are limited. So it is another tense gamble trying to guess which ones will rise again and which will not as well as trying to cluster multiple enemies together into one fireball.
Fire is (sometimes) your friend
One other thing that you will notice as you move through the chapters and acts of the game is there there is no real continuity between them. It is unclear how one location is connected to another and sometimes you can just be mysteriously brought to a new location with no rhyme or reason. This disjointedness of events and areas with no logistical or physical coherence again heaps onto the mountain of madness that is occurring around you and over time starts to make you question the sanity of your character. He is losing his mind? Is everything I’m seeing an illusion? Is this place real? Was the last place real? All you can do is press forward and hope you can find out.
Now just how do you think you got here?
As you press forward you will also become acutely aware of his revolting the set-pieces are as well as the creatures that inhabit them. This is especially true of the boss monsters that you will encounter which at times can be almost nauseating and genuinely scary when they are running at you full pelt. One unfortunate aspect of some of the boss fights is that they are linear and scripted requiring you to perform specific actions to damage the boss or move to the next area. This can sometimes cause the player to feel lost unaware of the correct action to take and result in death or worse, wasting bullets. Thankfully, there are not a lot of boss fights like this and most of them are quite enjoyable challenges and extremely satisfying to see these hideous things go down at your hands.
The boss monsters are all very unique and panic-inducing
The Assignment has you taking on the role of one of your associates from the main game, Kidman, who is mysteriously absent through most of it and only pops up inexplicably every now and then. In the assignment, you find out the answers to some questions that were left rather ambiguous in the main plot line and you also discover that Kidman is not quite who she claimed to be.
Take control of one of the main story’s side characters in The Assignment
Sadly, the game-play of The Assignment is an enormous let down compared to that of the main game. Whereas in the main game, you have plenty of choices of how to deal with situations in the form of shooting, fire, environmental hazards, stealth, etc, in The Assignment for 99% of the game, you only have one option: stealth. The number of times you have a weapon capable of killing an enemy can be counted on the fingers of one hand and for the rest of the DLC episode, you must make your way through purely by remaining unseen. You must avoid the enemies, hide from them, distract them but never confront them.
All stealth, all the time
This drastic change of pace was a huge disappointment for me as I despise being forced to use stealth. It’s okay to be able to sneak up behind an enemy and take them out quietly. But to have to sneak past and leave them alive and keep sneaking past repeatedly, usually failing and dying many times, completely rubs me the wrong way. Sadly the added exposition of the story could not save this extremely annoying stealth based DLC episode and it was much more irritating than it was enjoyable. Even the boss encounters had you sneaking around trying to stay hidden and then sneaking up behind them to strike a blow in the back of the head before turning tail and running again. Not the way I like to play a game at all. I prefer my fights face to face. Avoid this one unless you’re desperate to know all the answers.
The Consequence takes a slight turn for the better with some more options and additional combat spaced throughout it (you actually get a gun!) but sadly there is still too much forced stealth in it for my liking. Most of the same thoughts from The Assignment apply here. You play as Kidman again and it provides a few more answers to questions but in my eyes, it’s still not worth trudging through the maddening stealth sections.
Even more stealth in The Consequence
The Executioner episode is an extremely drastic departure from the previous DLCs and everything else in the game so far. In this one, you play as one of the nastier boss monsters from the main game and do so in first person perspective switching briefly to third person for some of the nastier finishing moves. In extreme contrast to the all-stealth-all-the-time Kidman episodes, the executioner is all attack all the time. The Executioner DLC is essentially a boss rush where you step into the shoes of a huge and horrifying monster and engage in a number of head to head battles with even huger and even more horrifying monsters.
Step into the Executioner’s shoes to bust some heads
As soon as you realise this, it quickly kills the initial rush you get from being in the shoes of such a powerful character. When you start this episode you will think that it will be a walk in the park because your character has so much capacity for destruction. However when you realise that most of your time will be spent fighting even stronger beasts, that feeling of superiority quickly wanes and you will soon realise that you are on the back foot again. Only at least this time, you can smash things in the face with your huge hammer and toss the smaller enemies around like they are made of paper.
Then immediately get your head busted by some even nastier monsters
You acquire additional weapons and items throughout the course of this adventure and can upgrade them much in the same fashion as you do in the main game but you will rarely stray too far from your trusty giant hammer. Unlike both of Kidman’s DLC episodes, the Executioner’s is much more enjoyable despite being much less relevant to the story.
The Evil Within is a worthy successor to the mantle of the Resident Evil games. I would have preferred this to have been Resident Evil 6 rather than the actual Resident Evil 6. Just replace the bulk of the monster enemies with zombies and bingo. It provides a well-adjusted balance between fear, stealth and fight or flight game-play where no situation has an obvious solution and each one requires careful planning and forethought. The one weak point is the plot and this just seems to have been hobbled together as an after-thought to allow the designers to create the environments precisely how they wanted and string them together with little regard for having to worry about disturbing the narrative because there basically is no narrative. Besides this lack of coherence, The Evil Within is one of the best survival horror games in recent years because instead of going full retard and all out action like the newer Resident Evil games, it provides a more thoughtful and balanced approach to the game-play. It mixes the excellent action with stealth that is not overly tiresome, the need for careful resource management and countless horrifying and WTF moments. An easy recommendation to anyone who enjoys the action or horror or stealth genres as it provides a superb mix of all of them.
You’ll have a lot of fun with The Evil Within. Trust me.
Unlike the main game, the Season Pass for The Evil Within is a bit of a mixed bag. The first two Kidman based episodes add a little more to the story but are big let downs unless you are a lover of stealth and the Executioner episode is a jolly action romp change of pace but quite inconsequential to the story.
The Evil Within on Steam
The Evil Within Let’s Play footage
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Anyone who has played Klei’s Mark Of The Ninja will find a lot of familiar territory in Assassin’s Creed Chronicles: China. Both are 2.5D side scrollers. Both place an emphasis on stealth but do have some combat mechanics. Both involve sneaking around, hiding, taking enemies unaware, and confronting them if necessary. Where Chronicles differs is that it puts the Assassins/Templars story into the mix and is quite a lot more difficult.
Those sneaky Templars are up to their usual tricks
Assassin’s Creed Chronicles: China tells the story of Shao Jun in 1526 who has been trained by the legendary Ezio Auditore. Keen fans of the Creed series may recall her appearing in the animated film, Assassin’s Creed Embers. This time around she is chasing a mysterious box stolen by the Templars which is suspected to contain a Piece Of Eden. These McGuffins are long standing key items in the series which were left behind by an ancient race and are key to saving the human race in the future.
Get skooled by the legendary Ezio Auditore da Firenze himself
One of the first things you will notice about this game is the gorgeously hand drawn artistic style for all the game-play as well as the story book cut-scenes. This gives the whole thing a great fantastical feel as everything is rendered in soft water colours and is very pleasing to look at from start to finish.
Everything is very easy on the eyes being rendered in a hand-painted watercolour fashion
The majority of the game-play is quite similar to the aforementioned Mark Of The Ninja where you move through the levels either avoiding or eliminating enemies in your path. Some levels will contain environmental puzzles and some contain scripted scenes where you must escape the level within a time limit. While scripted scenes like this are tense and exciting sometimes it is unclear which way to go which will usually cause you to die and have to restart somewhat breaking the tension and immersion. Depending on how stealthy you are at the end of each level, you get a score and are awarded points which can be used to buy upgrades to your character and new equipment. Besides just getting through them and/or killing targets, levels also have extra bonus objectives like freeing prisoners which will net you more of these points.
Go out of your way to complete bonus objectives and you will receive handsome bonus points
Being an assassin you do have some special tricks up your sleeve. The trademark Eagle Vision of the assassins comes back once again in this game allowing you to see the paths that guards will take which puts you in a better position to evade their routes or get behind them to eliminate them entirely. You can also see the cones of vision that each guard has further aiding your path finding, timing and evasion. Having all these abilities would lead one to think this game is quite easy, but you would be wrong. It’s actually still quite difficult because the guards are very plentiful and have cleverly thought out paths that will make getting past them quite tricky especially when there are many of them around. Many sections, especially in the later game, will require careful planning and multiple attempts to get through. Sometimes it is all but impossible to get through completely undetected and you must run the risk of combat or being spotted and running away like a champion in the hope of losing your pursuers. There are also a small number of boss fights some of which are scripted events and some of which are free for all combat. Again, the scripted events are not always very obvious and can result in many deaths.
Scripted sections can sometimes leave you confused as to how to proceed properly
Unfortunately, some of the controls are less smooth and can be a little sticky at times causing incorrect climbing and falling when negotiating the landscapes as well as not always performing lethal take-downs when meant to. This can cause guards to be alerted instead of dying and combat to ensue. On the topic of combat, it is something that you preferably want to avoid if possible. It is possible if you are stubborn and persevere and have built your character towards offence, but it is heavily dissuaded as you can only take a couple of hits before dying. Blocking is possible, but also a little flaky and difficult to regularly get to work. The enemy skill levels as well as the damage they do ramp up quickly so taking them out with surprise/stealth is usually the best way as combat in later game is almost always suicide especially if there is more than one enemy involved.
Direct combat is doable, but very difficult to escape from alive
Assassin’s Creed Chronicles: China is one of the few games that does stealth and get it right so that it is not maddeningly frustrating to play. Long-time readers will know by now that normally, I am not a fan of stealth and prefer to brute my force through most stealth sections. For me, stealth is more often than not incredibly trial and error and results in countless retries any time you put one foot wrong which can get incredibly frustrating. However Assassin’s Creed Chronicles: China and Mark Of The Ninja are two stealth based games that do stealth in a way that does not make me want to rip my own face off. Yes, you will fail and have to retry sections, but it is a lot less trial and error than most stealth games and if you are determined and ready for it, you can still fight your way out of situations if needs be. And this is the key difference between an enjoyable stealth game and an un-enjoyable one to me. Being able to successfully execute a plan B of killing your way out if needs be. Assassin’s Creed Chronicles: China makes executing this plan B challenging but definitely possible. I would recommend this game to any fans of stealth games or people who have previously tried stealth games and been over-frustrated by them. This one will be a lot more fun. I promise.
Stealth is hard to get right, but Chronicles China nails it
Assassin’s Creed Chronicles: China on Steam
Assassin’s Creed Chronicles: China Review Let’s Play Footage
The post Assassin’s Creed Chronicles: China Review appeared first on Life On The Grid.
A few years ago, I played Capybara Games’ fantastic musical adventure, Superbrothers: Sword & Sworcery EP and have been following them keenly ever since. I am still waiting patiently for their similar game, Below, but in the meantime, I was more than happy to play their more recent and silly title, Super Time Force.
Super Time Force must travel through time to sometimes save the world and sometimes to do other stuff.
This game was originally exclusive to the Microsoft consoles, XBox 360 and XBox One but in time did come to PC (with the suffix Ultra and some extras) and is slated to come to PS3 and PS4 sometime in 2015. But I could not contain my excitement and wait for the PC version, so for the purposes of this review, I played the XBLA version on XBox 360.
The great pixel art holds up well on any platform
The basic premise of Super Time Force is just as it sounds. You are a time travelling special forces unit that visits various periods in history sometimes to prevent catastrophes and sometimes just to fix minor inconveniences like browser updates. The plot line is just an excuse to go side-scrolling through history blasting apart bad guys and using time travel. There are a variety of characters for you to use and unlock and each has their own special skills such as extreme fire-power, ricocheting shots, blocking ability, explosives and so on. While there are a good variety of characters and powers, I was able to go through almost the entire game using just the explosives expert. Perhaps the other characters would be more necessary in harder difficulties and such but in a straight run of the normal game they are not terribly necessary.
Different characters have different skills. Some more useful than others.
The art and writing style are one of the main appeals of the game with the pixel art being extremely detailed and well together. The many one liners, catchphrases and pop culture references that come from your commander help to keep things light and are quite genuinely funny without ever feeling too forced.
Your C.O. Commander Repeatski is a very funny guy.
As you can probably guess from the name of the game, the main mechanic is that of time travel. Despite being a single player game, it is widely touted to be a single player co-op game. The reason behind this is that you can rewind time any time you die (or just any time at will) which creates a clone of yourself. If you can stop your previous self from dying by killing whatever killed him first, then he will continue to live in a paradoxical time situation and continue to run along with you aiding you in the fight until he dies again. Employing this mechanic, you can have multiple versions of yourself on screen at once repeating your previous movements and attacks and then carrying them on as best as they can. Most levels have a short time limit so using this mechanic to keep improving your “team’s” performance to get through the level faster is crucial. While this is fun and useful in the side scrolling levels, the real stars of this game are the boss fights. Most of these will only have a one minute time limit so you must spawn many copies of yourself to be able to kill these beasts within their short time limits.
The boss fights are some of the most frantic sections of the game
For a while, I was having difficulty figuring out how to best manipulate the time mechanics towards victory, especially in these very time limited boss fights. I was trying to use rewinds to get as much damage in as possible in real time. It wasn’t until it clicked that I had to maximise the killing potential of each rewind (because the number you have is limited) by rewinding to the start of the boss fight each time and doing as much damage as possible before dying and rewinding again that I started to have an easier time killing these bosses. Once you have defeated each boss, you are treated to seeing the fight in real time which shows the chaos of multiple copies of yourself spawning and fighting and dying over and over again within sixty seconds creating your very own personal bullet hell to rain down upon the huge bosses. The sheer chaos of these fights in real time makes you glad that the time travel mechanic exists and slows it down for you making it more manageable.
The madness is only made manageable thanks to the time travel mechanic
I was expecting to like Super Time Force but it easily passed my expectations with its great use of humour and excellently implemented time travel cloning mechanic which makes it possible for mere mortals to unleash absolute clone terror over and over again in a highly satisfying manner that makes you go “whoa, did I do that?” once the dust has settled. This is an easy recommendation to make to anyone but will be of particular appeal to fans of side-scrolling shooters and classic bullet hell shooters
Join Super Time Force and embark on super-important missions today!
Let’s Play Footage of Super Time Force
The post Super Time Force Review appeared first on Life On The Grid.
This game started off life as a Kickstarter which was successfully funded and was recommended to me by my sibling, Jason who knew my fondness of turn based strategy games. After researching it a little more, it seemed like it was worth a shot so off I went to Steam to get it.
Prepare to do battle in a Nordic era
The first thing you will notice about this game is the fantastic hand drawn art style that everything is rendered in. The art style is influenced by that which was used in very early Disney films, particularly Sleeping Beauty. Everything has a great amount of detail and nice touches to it and it makes everything very pleasant to look at.
Every detail is lovingly hand drawn
You play from the viewpoints of various members of a Nordic tribe who are travelling across the land to escape a force of mindless automatons referred to only as “The Dredge”. The tone of the game overall is very bleak with the only real goal most of the time being to stay ahead of The Dredge and stay alive in the hope of finding a safe bastion somewhere. You are always on the back foot and always feel pressured to keep moving to survive. As the game progresses, more enemies and problems begin to pile up and it can feel like there is no way out and no escape from the situation. All you are doing is delaying the inevitable as foes close in on all sides.
You must keep your caravan moving with ample supplies and good morale
The main selling point of the game is the tactical turn based combat and although it is well implemented and satisfying to execute, it is not too frequent. You are also presented with choices at several points that can reduce the amount of combat you get to do even more meaning if you are not a fan of this combat, you can end up doing very little of it. But seeing as this is one of the main draws of the game that would be a bit pointless. The turn based combat itself is mixed up a little by a few different mechanics one of them being that health and strength are linked. So if your character has taken a lot of damage, his damage output will also be drastically lowered. This means you must be careful to keep damaged characters off the front line unless you want to use them as bait. There are also a number of special moves available to each character but these mostly seem very special case use so aren’t often deployed and are wasted for most characters. The rest of the turn based mechanics are quite normal allowing you to level up the statistics of the character over time and adding new members to your team as the campaign progresses. But overall, the low difficulty and rareness of these sections made the feeling that it was not actually meant to be the focus of the game and it left me wanting more from the combat aspect.
The turn based combat is enjoyable, but fairly infrequent and unchallenging
The rest of game is spent travelling across the land with your group and the caravan with various events popping up as you travel and you are presented with decisions that must be made about them. This aspect of the game is quite reminiscent of the classic Oregon Trail. Like Oregon Trail, it is quite unpredictable and random as well as difficult to know how the different choices you make in the game will play out. On more than one occasion, I made what I was sure would be the best choice only to have it blow back in my face with severe consequences. This unpredictability further adds to the atmosphere of desperation and despair when you don’t know what is going to come along and make your life harder next. Some of the biggest events and largest surprises happen in this travelling mode.
All kinds of surprise events pop up as the caravan rolls on. Some easy to deal with. Some not.
The only real negative point that I had about this game is that when playing with a PC controller, the central dead zone seems quite off even after much repeated calibrations which caused the cursor to move on its own a lot. I never did get this resolved but it was a minor gripe so I did not research it extensively.
Overall, I thought The Banner Saga was an enjoyable mix of two usually very separate genres but these are two genres that should probably stay separate. A pure turn based strategy game like Fire Emblem Awakening is better because of the increased focus on combat and depth of the system. Likewise a pure travelling simulator like Oregon Trail or Organ Trail would be better because of more emphasis on this aspect. The Banner Saga felt like it had its attentions divided between the two areas too much so neither is as strong as they could be. It is part of a planned trilogy but at this point, I am unsure if I enjoyed it enough to carry on with further entries in the series. If you are looking for something a bit different and enjoy turn based strategy and/or Oregon Trail you can give this one a quick go as it is fairly short clocking in at around 7 hours but it may well leave you wanting to play something else similar that has a bit more depth to it.
All you can do is keep moving. Hoping you can find somewhere safe.
Let’s Play footage
The post The Banner Saga Review appeared first on Life On The Grid.
