Tag: Review

Bloodstained: Ritual of the Night is a Good Game That Couldn’t Capture the Magic of its Predecessors

DomsPlaying

While Bloodstained: Ritual of the Night isn’t ashamed to wear its inspiration on its sleeve and execute on the checklist of its “vania” genre, it doesn’t elevate above the shadow of its predecessors. The result is a solid 2D action game from the ArtPlay team, with punchy combat, map exploration, upgrades and unlocks plus a myriad of items to collect, that operates within the confines of its tropes rather than pushing beyond to become something magical.

I’ll start by addressing the genre. There are way too many derivations ending with “vania” in video games. Metroidvania is the original of course, a popular term used for borrowed elements from classic franchises Metroid and Castlevania. Even though it’s tired nomenclature, “Igavania” is one particular description that does carry weight. Named for the distinct personality of Japanese developer Koji Igarashi, famed Castlevania producer, who conceived Bloodstained: ROTN after leaving Konami around five years ago. This final version is the byproduct of a lengthy Kickstarter crowd-funding effort that began all the way back in 2015.

With that out of the way, the game is the definition of solid though not revolutionary. Its core elements are consistent, namely combat, upgrades and map traversal, though there’s too many frustrations and roadblocks hampering it from excellence.

Story setup is typical. A group of alchemists summoned demons through a dangerous ritual, in hopes of maintaining their influence amidst the 19th century Industrial Revolution. (Smart plan.) The main character is Miriam, a “Shardbinder” who the alchemists experimented on as an orphan. Due to those tests, she can absorb crystals which (you guessed it) provide powerful abilities. Her counterpart Gebel feels animosity towards the alchemists for being used in their experiments, so he sets out for revenge by raising an evil castle full of demons. Along the way Miriam slays said baddies plus meets survivors integral to the narrative like an older alchemist, an apprentice, an exorcist and an Eastern demon hunter. The usual crowd.

The result is a solid 2D action game from the ArtPlay team, with punchy combat, map exploration, upgrades and unlocks plus a myriad of items to collect, that operates within the confines of its tropes rather than pushing beyond to become something magical.

Thus the singular goal throughout is to confront Gebel. There are side “quests” given by survivors, though calling them that is generous at best. There are really only three types: kill enemies, return items and make food. Repeat ad nauseam. I’m fine with their inclusion, it’s just these are falsely represented as anything more than errands. I counted only one true side story, involving a gentlemen trying to find his way back home. Though not nearly trying hard enough. It was comical, showing the potential for way more than the other set of monotonous chores.

Back to the main path, it’s finding Gebel that’s equal parts fun and tedious. Fighting demons is as expected, through a blend of upgradeable weapons and spells. Enemy variety is a highlight, even borderline extravagant. Facing off against massive wolf creatures, flying gargoyles, disembodied animal heads and electric jellyfish among others is novel at first, though becomes increasingly more mundane as slight variations are introduced and status effects take front stage. Sure it provides variety. That doesn’t mean it’s all memorable.

The biggest and baddest bosses are mostly good, albeit traditional, with a couple stand-outs that I won’t mention. Even the more cliched are well-executed, like the now standard doppelganger face-off. Boss encounters elicit the sort of down-to-the-wire moments where the player expends all abilities, healing items and strength. Emerging victorious, especially during the final gauntlet, easily pinpoints one of the game’s most remarkable qualities.

Artwork is striking, colorful in spots. Screen shots don’t do it justice. And the presence of the simple mini-map alongside modern visuals is truly awesome. Though there are some funky visual quirks with water and reflections, which stand out even more when so much of the game looks brilliant.

An impressive aspect is how the team uses camera techniques to shift the two dimensional perspective to show that it’s really built in a 3D space. Each area is distinct, as art design blends with functionality. Like the spiraling ascent of a massive tower or the sandy waterfalls of an underground desert. One area features moving machinery and shifting bookshelves, where ArtPlay does a good job incorporating its world design into environmental puzzles. Smartly revealing hidden areas or surprise enemies in the process.

Later areas especially require trickier platforming. Evolving game spaces in flux, like alternating or moving platforms with flying enemies to dodge. There’s that usual Igavania feel, complete with the frustrations of Medusa-like enemies seeking to turn Miriam into stone, and it’s a welcome change from the more combat heavy first couple acts.

The feel of progression is key in this genre, and Bloodstained: ROTN does it well enough with the major exception being swimming which I’ll detail below. Gaining new techniques such as double-jumps that allow further map exploration is a staple of vanias. In the game’s third act, there’s one that turns the game on its head which I found quite useful. Game length could span a few hours to upwards of more than a dozen, depending on approach. Which is maybe a bit too long for players like me that achieved near 100% map completion. Specifically because of pacing issues I’ll get into soon.

Boss encounters elicit the sort of down-to-the-wire moments where the player expends all abilities, healing items and strength. Emerging victorious, especially during the final gauntlet, easily pinpoints one of the game’s most remarkable qualities.

You’re probably thinking: All of this sounds pretty cool. And you’re right. There’s still a lot I haven’t mentioned yet, and it’s not nearly as positive.

First, it had a game-breaking bug at launch that still can plague players if not updated to the most recent patch. Absolutely make sure to be on the current version, especially Switch owners that will be playing it this upcoming week.

I also haven’t mentioned how Bloodstained: ROTN has crafting, cooking and transmuting systems in its sort of hub village. That’s because these are only somewhat useful when the real treat is finding stuff through enemies and chests. It is convenient in cases like health and status effect potions. Though these features are under-developed and the menus are convoluted. The cooking menu in particular is.. half-baked.

Let’s talk meat and potatoes. (Yup.) Item drops, namely weapons and gear. Part of what makes something like Castlevania: Symphony of the Night or more recent titles La Mulana 2 or Dead Cells special is that each drop feels meaningful. See an item pop-up, instantly access the menu and equip it to boost stats ever so slightly yet always importantly. With Bloodstained: ROTN, there’s just too much loot for a lot of it to matter. And so many duplicates! I spent the first half of the game using an accessory that I got from a lowly enemy in the tutorial segment, and made a God-tier weapon within an hour that I used until the game forced me to switch it due to narrative reasons.

Plus, except on the highest difficulty, I don’t see the need for a “build” which renders much of the more specific gear or abilities an afterthought. I tend to go for balanced builds, which worked perfectly. Combine balanced stats with an overpowered weapon, and encounters became more and more trivial. I can count on one hand the amount of items I used in each slot. Experimentation wasn’t rewarded, because I always felt like my prior setup was superior.

It pains me to say in all seriousness that this game has legitimately one of the worst water areas I’ve ever played. This is not hyperbole. It’s up there with Teenage Mutant Ninja Turtles for the NES. Not only are the controls absolutely miserable, it can’t even be accessed without a random ability drop from an inconspicuous enemy! We’re not talking an optional area here. This is required to finish the main story. It’s the only time I had to look up a guide to see what the heck I had to do, which was wait until one enemy dropped its corresponding shard ability.

This leads me to my final criticism: When a vania doesn’t have good signposting, as in an effective indication of where to go next, it risks feeling aimless and frustrating. Bloodstained: ROTN is one such game, which ultimately results in uneven pacing. Luckily there are times when it rewards wandering, though doesn’t offer more than a vague reference from a non-playable character on where to go next. Combining a lack of signposting with the requirement of a random ability to drop in order to progress in the main campaign mission is not good design, in my opinion.

After touching on both sides of my experience, I want to acknowledge that I had a good enough time playing it. However while exhilarating in spots, especially its boss fights, Bloodstained: ROTN isn’t a successor to Castlevania: SOTN or even worthy of comparisons to modern marvels like Team Cherry’s Hollow Knight or DrinkBox Studio’s Guacamelee! series. It’s more of a nod to its genre that adheres to its boundaries rather than innovating too much, which is disappointing considering its pedigree. I’m content that I tried it, though am left wanting it to be polished, improved and made much more memorable than it was.

Title: Bloodstained: Ritual of the Night

Release Date: June 18, 2019 (PC, PS4 & XB1), June 25, 2019 (Nintendo Switch)

Developer: ArtPlay

Publisher: 505 Games

Platforms: PC (GoG & Steam), PlayStation 4, Xbox One, Nintendo Switch

Recommendation: If you are craving a game in the genre and haven’t already, I’d recommend playing the timeless Castlevania: SOTN which has a version available on Xbox One via backwards compatibility. (In fact, what are you doing? You should be playing that instead of reading this.) If you have, I still mentioned other games above that I’d suggest playing instead. If you do opt to try this one, you’ll probably feel nostalgic in the first few hours then will be somewhat underwhelmed when that feeling wears off. If you can tolerate the issues I cited, enjoy!

Sources: 505 Games, GamesPress, Mana Ikeda (Character Art Image), Xbox One X Screenshots.

-Dom

Review: The Themes & Sounds of Funomena’s Luna Had Me Over the Moon

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With its themes of togetherness, creation and rejuvenation commingled with brilliant sound design, Luna is a quick, impactful indie game that transitioned well to console play from its virtual reality roots.

(Plus, and I know you noticed, it gives me a great opportunity to use an amazing pun that I couldn’t if I didn’t enjoy it!)

Funomena, a team of 30 folks based in San Francisco led by noted indie talent Robin Hunicke, originally released the esoteric, interactive story Luna in 2017 on virtual reality and PC platforms. Today marks its PlayStation 4 and PlayStation VR debut, and it’s certainly worth trying. Likely via either medium, though this review is of the PS4 version.

It’s a game that’s relaxing without descending into boredom. Slight overtones of loneliness, albeit not dark, that transition into hopefulness. More an experience than a traditional video game. Which seems to be the exact intention. If someone is arguing whether games are art, Luna attempts to prove that no one should even be questioning it.

The tale centers on Bird, a little feathered friend that boasts a mighty song, trying to recover bits of the Moon by uplifting other critters. The other main character is Owl, ever foreboding and mysterious. Funomena’s presentation here is like a virtual picture book, with hand-crafted art and a soothing vocal narrator. The simple yet effective story is told through its environments and player interactions, with bits of narration interspersed that act more as guidance than exposition.

Luna packs a decent variety into its two to three hour playtime, as there are a handful of main “phases” that form its framework. Two of them revolve around light puzzle elements. One that’s semi-rhythmic in nature, as Bird sings to open nuts growing on a tree, while the other has the player forming constellations of different shapes or animals.

It’s necessary to complete these puzzles in order to open each of its level. What I like about the puzzles is they aren’t stagnant. They evolve each time, presenting slightly different challenges. One introduces a rotation element, the next takes away certain visual clues. It’s never too hard, and I appreciate the feeling of progression.

Speaking of its levels, they are mini-worlds each with a distinct animal inhabitant. And these are the true highlight of the game. Each of these spaces is effectively a dreary spot in need of enlightening, both literally and figuratively. Bird is fly enough to help! This is where player choice comes in, though there isn’t a strict set of goals or guidelines. It’s really a sort of free-flowing activity, which offers the player a chance to “cultivate” the scene with different plants, trees or flowers.

The player has to coax out each animal by planting those objects throughout this defined play space. Brighten it all up. Change the size. Sprinkle in color. As the player places trees or bushes, life awakens. Even though it’s simplistic and guided by context clues, it’s still satisfying. Plus, this allows for a level of creative expression. It’s especially fun to see one’s handiwork come to life in the background of the cut scene that ends each segment.

More an experience than a traditional video game. Which seems to be the exact intention. If someone is arguing whether games are art, Luna attempts to prove that no one should even be questioning it.

It’s almost a cliche these days to compare something to thatgamecompany’s Journey, though it’s natural here based on the team’s background of working on the 2012 independent classic. Luna dabbles in similar themes, as Bird tries to communicate using bits of song, though I’d actually align it more with recent titles like Fe and Gris from Zoink Games and Nomada Studio, respectively. Both of which I quite enjoyed, though this here is a much more swift adventure.

Sound plays a major role, especially in the puzzle areas. Since the player interacts with the game using a type of cursor controlled by the joystick, interacting with many of the game’s visual elements will spark a unique sound. Trying to connect a star chart to form a constellation? Guitar strings twang when the cursor crosses over any connections that already exist. It’s a subtle touch, and I found myself messing around to see how many different notes the team programmed.

Expanding on the game’s auditory direction, part of why it works so well is its free form design combined with a smooth, natural soundtrack from Grammy-nominated composer Austin Wintory (Journey, Abzu). His incorporation of chimes and piano chords amidst sounds of flowing water or ambient tones were great on console, and I’d imagine even better when immersed in VR.

The simple yet effective story is told through its environments and player interactions, with bits of narration interspersed that act more as guidance than exposition.

As much as I enjoyed Luna, I have to admit there were small moments of frustration. I think it’s equal parts the game’s fault and my own. Within the first space, as I was planting trees and changing their colors to my heart’s desire, I started to question how I was going to progress. The world seemed complete, or at least my version of it was, which meant I felt stuck. I rotated the camera, poked and prodded though couldn’t complete the instance. It wasn’t readily apparent that I had to keep adding flora until a visual cue popped up and I could conclude the level.

This is a case where the game’s abstract nature works against it. Especially for me, as I tend to be goal-oriented. Luna nudges in directions, lets the player create rather than enforcing strict guidelines. Which started as a confusion, then became much appreciated after I learned I had to form my own path. Perhaps this is the intent.

The other downside is that it ended way too abruptly! It’s not that I assume a game like this would be grandiose in its finale, it’s that I hoped it would be more interactive. Especially after giving the player tools throughout to express individuality. Just when I expected to create my digital masterpiece, Luna took the reigns and ended its story on its own terms. It’s not my ideal conclusion, though it certainly didn’t ruin the overall experience.

My thoughts on the ending are not too damning really, since the real treat is the time spent in the game’s melodic, inspiring world. The puzzles are never too difficult, and ultimately a means to open levels where the player is way more free to tinker. Nothing is overly complex, nor does it need to be.

Funomena achieves a status of interactive art with Luna, in multiple respects. It’s a visual story about unification, overcoming feelings of desertion or guilt and a sense that planting seeds can grow fruitful relationships. This all means that, in the time it takes to watch a film, I’d recommend instead taking a quick virtual trip over the Moon.

Title: Luna

Release Date: October 17, 2017 (VR), November 22, 2017 (PC), June 18, 2019 (PS4, PS VR)

Developer: Funomena

Publisher: Funomena

Platforms: Windows Mixed Reality, Oculus Rift, HTC Vive, PlayStation 4, PlayStation VR

Recommendation: If you made it this far, you already know I think it’s worth a shot! Really thinking that virtual reality version might be even better, too.

Sources: Funomena, Screenshots from PlayStation 4 Pro.

Disclaimer: Review code provided by Funomena.

-Dom

Sci-Fi Shooter Void Bastards Is Fun In Bursts, But Fits Too Many Genres In One Space

DomsPlaying

Minutes into Void Bastards, it’s clear what kind of experience it’s going to be.

“Don’t worry,” it shows as my character is overwhelmed by enemies. “The game expected you to die.”

During a hectic opening sequence, this tone is quickly established then permeates the latest work from Australian indie studio Blue Manchu. It’s a genuinely funny game, a shooter strategy hybrid set in space presented as a science-fiction comic book come to life. The basis of its humor is the setting: a bureaucratic galaxy with friendly robots, invading aliens and tons of obnoxious legal paperwork. However, like its endless lineup of player characters, certain parts wind up being expendable.

Its attempt to mix genres and influences occasionally works, as I had a good enough time in short sessions though not nearly all the time. Void Bastards is part first-person shooter, strategy sim, survival game and roguelite, the last of which being a more focused genre within the broader “roguelike” such as character perma-death plus random or procedural levels. Based on there being less than a dozen folks at studio Blue Manchu, this was clearly an ambitious task. I commend the effort, even if I wasn’t dazzled by a few of its parts.

One of the team’s main designers Jonathan Chey co-founded Irrational Games and was instrumental in System Shock 2 and BioShock, obvious inspirations here. Picture one of these games, remove the engaging story and fascinating lore then add strategy elements, a cumbersome crafting system plus survival gauges and this is essentially the result.

The player takes control of an escaped prisoner, the titular “bastard” from the void. A random felon that hijacks an intergalactic vessel with the intention of leaving the Sargasso Nebula. Upon creation, he or she is assigned characteristics such as being fast on their feet or even colorblind. When that person meets an untimely end, it’s replaced by a new one. Items and materials are lost however upgrades and crafted items remain. Which is a smart design decision, as the game is punishing enough already especially on higher difficulties.

The basis of its humor is the setting: a bureaucratic galaxy with friendly robots, invading aliens and tons of obnoxious legal paperwork. However, like its endless lineup of player characters, certain parts wind up being expendable.

Starting with my first character, a smoker with a random cough that alerts enemies, it actually takes me a couple hours to get my bearings. To understand what my goal is. The beginning requires one to search for crafting parts to a piece of futuristic technology. Perhaps I missed a story or dialogue prompt, I wasn’t exactly sure where to go or what to do. Better on-boarding (pun intended, as expected) or a tutorial area would be welcome.

Though this carries forward into later game as well, feeling of aimless despite possessing a star-map. Based on the developer’s description, this is because the player gets to pick where to go. Even so, it’s overwhelming. Progression is driven by crafting pieces of the spaceship that will allow faster-than-light travel, in an attempt to leave the local nebula.

The major stand-out feature of this Humble Bundle-published title is its artwork. It truly resembles an interactive comic. Space crafts feature stunning, colorful 3D spaces. It’s easy to be distracted by the most minute of details, such as in-game posters or gadgets strewn about the area. Its semblance of a narrative is conveyed in a manner that looks like a visual novel, complete with animated panels and dialogue bubbles. I found myself stopping to admire this art design constantly, and hovering on the story panels as if to soak up the style.

Another strength is, intriguingly enough, its voice acting. Super creative, even subtle at times. Robot AI named BACS (for the British tax-collecting organization) works as a narrator along the journey, and is especially humorous during downtime between boarding ships. The player character is speechless, though enemies will quip and react to one’s presence. On-board intercom messages continue despite stations being empty, many of which are quite clever and give a sense that the world which existing previously certainly had its share of issues.

“I bet you are wondering what happens when you die?” BACS presents, appearing philosophic.

“Others will enjoy what you leave behind.”

Downtime here is where the strategy simulation kicks in, plus the player has an opportunity to craft from the materials collected while exploring ships. Time is spent plotting a course across the cosmos then building stuff to help make it easier. Deciding where to go based on the descriptions of each ship, which detail what sorts of enemies or resources are present. The cool part here is that there are virtually no loading screens, it moves quickly between the different menus. The transition from map to gameplay is seamless.

Unfortunately, it’s a shooter where the shooting is serviceable at best, flimsy at worst. I know it’s not the sole mechanic, though as the primary interaction with the game space, it is noticeably inconsistent. And desperately missing a melee attack.

Its semblance of a narrative is conveyed in a manner that looks like a visual novel, complete with animated panels and dialogue bubbles. I found myself stopping to admire this art design constantly, and hovering on the story panels as if to soak up the style.

In terms of enemy, combat and weapon variety, it’s solid enough to keep engaged in the short-term. There aren’t actually that many enemies. For instance, the Zec are alien humanoids with shields, while Patients are a set of floating severed heads that require precision shots. Stronger versions appear deeper in space. This makes sense because it’s made by a smaller studio, however this fact doesn’t break the monotony of seeing them so frequently.

Weapons and explosives are much better. The player unlocks more powerful, varied instruments of combat through a crafting tree. One of my favorites is the Kittybot, a cute killer that distracts foes then explodes on a timer. The other is the Rifter, a gun that captures enemies then spits them out on command. This allows for unique engagements, like locking opponents into vacant rooms or dropping them directly into an environmental hazard.

Even though the game implies stealth is possible, mainly on surfaces like carpet, I was never successful in hiding my presence. There’s a smart design in how the game signals enemies are around, at least. Phrases show up in the world, like Batman’s fight-words style, then increase in frequency when approaching a baddy. These pop-ups also show up with more pizazz during combat.

As mentioned earlier, the character trait system is a major feature. Especially since once a character dies, it’s gone forever. It’s an intriguing system, though can be frustrating depending on which combination pops up. “Diminutive” stature is an example, which means the camera shifted accordingly. It’s like playing as the shorter Oddjob in GoldenEye 007.

The downside of procedural generation and random attributes is one that’s more general when I play the genre: fear of missing out. The only way for me to see all the traits is by failing constantly or seeking out gene banks, which are areas in certain ship types that allow for swapping of traits. No matter how my character is built, I know there’s likely an even better ability that I’ve never seen.

Then, boarded ships have mostly the same features throughout. Jumbled up depending on which type, such as a medical vessel or fuel stations. This gets tedious in later stages, to the point where exploration feels a chore when it really should satisfy curiosity. Combine this with survival parts like juggling hunger, gas and oxygen levels, it’s easy to get bogged down in laborious mechanics.

Perhaps this is nitpicky, I find controller options to be paramount for shooters. There’s only one configuration I could find here on console, no sort of mapping or reworking controls. There also isn’t a way to turn off elements of the HUD, which would be fine if not so invasive. Lastly, the crafting system is messy. Forces the player to cycle between screens and constantly guess at how spending one set of materials will impact the potential for building something else. Multiple times I built one item not knowing it would set me back in my progress for another.

A question before wrapping up, this from Nick at The Inner Circle. Has there been any game I’ve played like this? It’s a tricky one to answer, as I’m admittedly not a strategy enthusiast. I made the above comparisons to “Shock” games, though a series I feel has the same vibe is, wildly enough, Toe Jam & Earl. The action-adventure from the Sega Genesis days doesn’t take itself too seriously, features random characteristics and was an early example of procedural elements on console. Plus there’s the whole space ship building part!

All of this together means Void Bastards is much better in short bursts than long sessions. Tedium sets in while boarding yet another ship with the same rooms, inhabited by enemy types seen before. Especially when facing them at higher difficulties, without the necessary resources to succeed.

There’s some cool possibilities in the game’s overlapping systems, though it’s far from a revolutionary genre-blend that it has the potential to be. I had enough fun with it to warrant at least checking it out, though not near enough to maintain my attention over a long haul. Let alone a trip across the galaxy.

Title: Void Bastards

Release Date: May 29, 2019

Developer: Blue Manchu

Publisher: Humble Bundle

Platforms: Xbox One and Xbox Game Pass, PC (Steam, Humble Bundle)

Recommendation: Solid enough to try, especially for strategy enthusiasts and those with Xbox Game Pass, albeit not good enough to drop everything and play right away or stick with over time.

Disclaimer: Xbox One review code provided by Humble Bundle.

-Dom

A Plague Tale: Innocence Is Both Pure & Painful To Play, That’s Why It’s So Powerful

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Amicia and Hugo tip-toe across cadavers strewn about a now empty battlefield, devoid of life except for them, where men had fought face-to-face and died together.

“Are we hurting them?” the boy Hugo questions honestly, with equal levels concern and naivete in his voice that makes one feel the men might actually be alive when you know they will never be again.

This uniquely harrowing and tender sequence represents the essence of A Plague Tale: Innocence, a game in which small bits of purity often exist amidst total and utter despair. It’s a place where video games seldom have the courage to go, or fail in an attempt to do so.

Asobo Studio’s stealth-adventure isn’t like other games. Incredible, heartbreaking and often downright repulsive, the French team’s creation is a special experience that proves a game doesn’t have to be fun in order to be enjoyable. In fact, I’d argue that the struggle of playing through its jarring environments and painful moments is intentional. And precisely what makes it so memorable.

To confirm, it’s not the mechanics or systems that make it painful to play. In fact, directors David Dedeine and Kevin Choteau create fluid stealth and combat abilities, as I’ll dive into later. It’s because of the setting, its aesthetic and overall tone. Its decaying environments. The ghastly corridors. That sickening feeling of trudging through the of world and its timeline, as children nonetheless. These aspects are chilling, approaching unbearable, that I won’t be able to shake them for a long time. This sort of emotional difficulty stands out just as much as the challenging combat of a Dark Souls or pinpoint platforming required in a Kaizo Mario. This struggle, more than anything, is the defining characteristic of A Plague Tale: Innocence.

Set in France during the 14th Century, this interactive narrative published by Focus Home Interactive follows the children of nobles Beatrice and Robert De Rune amidst a blood plague and the Inquisition. The player controls teenager Amicia, often alongside her five year-old brother Hugo, the latter of which starts the story in quarantine at the behest of his mother due to suffering from a mysterious illness.

In the opening scene, Inquisition soldiers storm the De Rune residence looking for young Hugo. It’s here the game introduces its main features: stealth, deception and light combat elements. Amicia boasts a variety of distraction and even lethal techniques, plus can direct her companions to help clear a path or unlock areas. It’s a clever system that peels back deeper and deeper layers throughout the game, even up to its final act, and tailors Amicia’s tools based on who is with her at a particular time.

The siblings escape the estate, though Robert and Beatrice remain behind with their Inquisition captors. Robert is slain and Beatrice appears to be as well. What follows is a narrative normally not attempted in games, focusing on teenagers and children plodding through a war-torn region plagued by a number of atrocities. Albeit still very much a game, speckled with familiar mechanics and tropes within its genre.

This sort of emotional difficulty stands out just as much as the challenging combat of a Dark Souls or pinpoint platforming required in a Kaizo Mario. This struggle, more than anything, is the defining characteristic of A Plague Tale: Innocence.

As the pair crosses through villages, monasteries, farms and chateaus, they face the game’s primary obstacle and most notable piece of technology: Rats. Not just any old vermin. Rabid, swarming groups of rats that devour anything not near fire or light. These are plague rats, as deadly as they are disgusting.

These swarms and Inquisition soldiers become the framework for most of the environmental puzzles. The De Runes must leverage Amicia’s sling to fling rocks and specific concoctions that can put out fires, daze foes or even blast holes through large groups of vermin. This presents all sorts of options, and while the early puzzles are rudimentary, the later game opens multiple paths to allow more elaborate combinations of tactics. Since Amicia isn’t durable, it behooves one to take a more delicate approach. That’s not to say the lethal option isn’t effective. It’s impressive how much the game promotes creativity in this regard.

To supplement Amicia’s stealth capabilities, there’s crafting of different rock “formulas” via an alchemy menu. Spells have Harry Potter-esque names like Ignifier or Luminosa. Combining is essential as both human and rodent foes become more varied in later encounters. There’s also upgrade trees for her sling, equipment and ammunition, so scouring areas for supplies is essential. This and the game’s other systems are deeper than initially thought.

It’s also more open than it seems. Branching paths create a sense of wonder, creating the sensation that its spaces are actually larger than they are. Walking with a side character into a nook within a broader room gives an opportunity for private dialogue and world-building through a handful of different collectible types. While it’s linear overall, A Plague Tale: Innocence has its share of intimate, optional moments.

One minor area of frustration for me was facing off against the game’s “bosses.” These battles are so difficult to design in this context, trying to balance stealth and combat. They can feel clunky or out-of-place, as they do here. I understand why they are present, helping to signal climaxes within each act, and I appreciate the effort despite them being my least favorite part of the game.

Since Amicia isn’t durable, it behooves one to take a more delicate approach. That’s not to say the lethal option isn’t effective. It’s impressive how much the game promotes creativity in this regard.

More broadly speaking, art direction is masterful in its depiction of what a plague-ridden Europe would look like during this period of history. It’s strikingly beautiful, a direct parallel to how its characters fight against the ugliness of their time. Kudos to the team. It’s hard to even describe: Diseased corpses, decaying animals and dilapidated buildings that were once beautiful litter the game spaces. Sometimes literally under Amicia’s feet. It’s haunting, stomach-turning stuff.

Plus, the narrative. It’s hard to describe how engaging writing lead Sébastien Renard makes it, between superlative character development, a main arc surrounding the plague then to genuine twists during late game. Especially given it centers on a pair of kids and the teenagers they meet while trying to deal with Hugo’s symptoms, finding respite amidst a world that isn’t fit for youngsters.

Amicia and Hugo’s relationship begins as distant, as the latter deals with loss for the first time. It progresses in conjunction with the game’s overarching story, as Amicia decides she’s willing to do just about anything to help her brother. They grow literally alongside one another, holding hands while solving puzzles. Hugo will bravely crawl through crevices or sneakily unlock doors. This highlights his growth, as previously he was cooped up in his bedroom. A victim of his affliction.

The game escalates quickly across 10 to 12 hours, from its more modest beginnings through a robust second act then a grand finale. Grand Inquisitor Vitalis targets Hugo throughout, as we learn how the boy, the rat plague and this twisted man leading the Inquisition are interwoven. While it gets fantastical at times, it’s forever grounded in its character relationships, motivations and determinations. I also respect that there’s equal chance the game serves up beautiful reunions between characters as it does extreme punishment, akin to the style of author George R.R. Martin.

The art direction is masterful in its depiction of what a plague-ridden Europe would look like during this period of history. It’s strikingly beautiful, a direct parallel to how its characters fight against the ugliness of their time.

Even secondary characters shine in their specific roles: The alchemist Lucas, orphan twins Melie and Arthur plus the blacksmith apprentice Rodric. All forced to mature and harden themselves way too early in life, something that children should never have to do. It’s notable how well-paced the game is, too. In that, it does downtime well. Quiet times in a Middle Ages castle that the group adopts as home or branching off to find a collectible with Hugo lull into a sense of respite. Then, that false comfort is shattered.

And I never thought I’d say this about any title: The “rat technology” of how the critters move in big groups and react to environments is impressive. This tech is crucial to so many puzzles that I don’t think it’d be near as effective without Asobo’s extensive animation and artificial intelligence work.

Voice acting and dialogue are also standout. It’s so difficult to feature children in games, which is why there are very few that do it successfully. A special shout out to Hugo’s English voice actor Logan Hannan. His performance is subtle and refreshing, even hopeful.

At one point, Hugo bemoans his torment. “I’m scared of what’s in my head,” he trembles to Amicia.

“Don’t worry.” she comforts. “We’re all scared of what’s in our heads.”

It’s a tender consolation, an understanding between the siblings. A morbid sort of comical relief that draws them closer. The boy never forgets his courtesies during the play-through, throwing in “Thank You’s” and “You’re Welcome’s” in the most charming of ways, as casually as if he was back at the De Rune estate eating dinner.

(Here’s a video featuring the actors alongside their characters.)

And the sound design! Strings escalate the tension as rats rush away from a light source. Lightning snaps across the backdrop of a fortress. The attention to this kind of detail is all the more noteworthy given how small the development team is.

What ultimately makes it special is that, while it certainly has villains, it’s hardly a good against evil cliche. It’s not merely a “surviving against the odds” tale. It’s young people attempting to maintain humanity when the world is chaos. A juxtaposition of purity and destruction. The symbolism of hopefulness while despair is ever-present.

Hugo will often find flowers throughout the world, and offer to put them in Amicia’s hair. Continually reinforcing the theme of contrast. This small, touching moment embodies what it means to stay positive within a decaying world. Characters looking for anything by which to feel a sense of normality. Fighting against those that would steal it away.

As far as historical adventures within the medium, A Plague Tale: Innocence is near a masterpiece of its genre. I’m ecstatic I gave it a legitimate chance despite my reservations about its rodents. I’m still not anywhere near comfortable with the swarms and the game’s many rotten elements, and I’ve learned that’s exactly the point.

Title: A Plague Tale: Innocence

Release Date: May 14, 2019

Developer: Asobo Studio

Publisher: Focus Home Interactive

Platforms: PlayStation 4, Xbox One, PC

Recommendation: Unless you are deathly afraid of rats, or dislike excellent games, this is undoubtedly a must-play.

Sources: Asobo Studio, Focus Home Interactive, Screenshots from Xbox One X.

-Dom

Stylish & Unabashed, Rage 2 is the John Wick of Video Games in 2019

DomsPlaying

Within hours of playing through Bethesda Softworks’ new open world action shooter, I found inspiration.

Rage 2 isn’t Mad Max: Fury Road, as many would have us believe. It’s the John Wick of 2019 video games.

As does John Wick, the game knows exactly what it is. It’s pure action, style as substance and unapologetically intense. And certainly not ashamed of it. It even basks in its absurdity. Bursts of action coalesce perfectly as the player combines weapons, throwables and abilities, leading to the familiar choreographed feel of watching Keanu Reeves effortlessly come up with tactics on the spot to carve up his myriad of foes.

As I progressed, the comparison solidified. Both begin with a tragedy. In the case of the game released this past week, a collaboration between storied developer id Software (Doom, Quake) and Avalanche Studios (Just Cause, Mad Max), this is a decimation of the protagonist’s stronghold called Vineland and the death of its matriarch at the hands of the cruel General Martin Cross.

What follows is, similarly, a straightforward revenge tale against the villain and his followers, collectively dubbed The Authority. Controllable character Walker dons the armor of the elite Ranger class of soldier, leveraging technology based on “Nanotrites” (yay science!) to power special abilities including a seismic ground pound and quick dash.

Bursts of action coalesce perfectly as the player combines weapons, throwables and abilities, leading to the familiar choreographed feel of watching Keanu Reeves effortlessly come up with tactics on the spot to carve up his myriad of foes.

(I’ll admit momentarily that I don’t have much more than minimal experience with 2011’s Rage, so I’d argue it’s not a requirement. Though there are obviously callbacks and it can enhance the experience.)

Walker, with the help of best bud and mechanic Lily, is tasked with finding three individuals: a grizzled resistance leader named Marshall, Mayor Hagar who runs the game’s major settlement plus ex-Authority scientist Kvasir secluded in the swamp lands. These folks are integral to a project designed to halt General Cross, a maniacal jerk that’s been cloning himself in hopes of “living forever.” Upgrade progression centers around three skill trees, each based on character specialties. For instance, investing experience points into the resistance leader will enhance combat while the scientist will help with gadgets.

Now, I’m a firm believer that a game’s mechanics are of utmost importance. “Game feel,” as I say. If a shooter especially doesn’t feel right, if there isn’t enough feedback when shooting or indicators that the player is getting damaged, it can’t ever elevate above average. Luckily, Rage 2 is centered around its amazing gameplay, rivaling predecessors Doom and Quake which are both on the same game engine.

It feels like an open world Titanfall 2, with cooler combat abilities (minus the Titans, of course). Most of its weapons are distinct, from a standard assault rifle to a unique gravity gun that attaches to foes before swinging them where one’s heart desires. Each one is fully customizable with individual upgrade paths. Plus there are two different “modes” for each, hip-fire and aiming down sights, adding to the tactical possibilities. The standout here is the shotgun, a staple of these kinds of action titles. The punch of this particular shotty is near unrivaled in the history of shooters.

In terms of layout and pacing, this is where the map opens up; Giving freedom to progress any which way, to whittle away the defenses of each enemy faction: Authority, Goons, River Hogs, Mutants and the ominous “Shrouded.” A variety of vehicles, including a fantastic gyro-copter, allow for traversal across the wasteland. There’s noticeable downtime when driving, since hostile convoys are rare, however there’s normally a spot in proximity that catches the eye, enticing a visit. It’s almost like a The Legend of Zelda: Breath of the Wild formula, built on distractions that emerge as bespoke endeavors.

We gradually learn about how the game doles out points of interest. Exploring an area yields a question mark on the map and heads-up display, which could be any number of activities: bandit camp, towering turret, roadblock, power plant, fueling station, crashed meteor, resting place of a fallen comrade or the treasured “Arks” that house new weapons and sweet abilities.

While gameplay is essential, I also believe the player needs to be rewarded for their effort. What’s the point of all this spectacle? Rage 2 showers the player with experience points, materials, upgrade points and currency, which means that side activities and poking around the world are absolutely worthwhile. As I’ve said in the past, open world games are inherently repetitive. It’s how a game conceals its repetition that truly matters. Not to mention, opening a crate by punching it never gets old!

One aspect I’ve heard critiqued is its story structure. There aren’t many main missions, granted.

I pose a thought: Why is this necessarily be a bad thing? This actually gives flexibility for different player types. It’s setup in a way that it could be a tight, 8 to 10 hour experience if someone wants only to see the campaign. The alternative is to spend dozens of hours perusing the wasteland and racking up every ability and weapon, finding secrets along the way. In the world of Rage 2, high tech “Arks” are large vessels with goodies inside normally guarded by enemies. I found it tantalizing to seek these out, and felt an adrenaline rush whenever Walker spots a new one.

Even though it’s a plus that the game can be “mainlined,” it’s no doubt a generic action story that left me wishing it had more missions. It’s almost as if the team knew the fun would be in the open world rather than in its narrative, which isn’t necessarily a deal-breaker but more of a mild disappointment.

I’ll point out that the story missions themselves are quite fun, especially for the scientist Kvasir, one of which has the player breaking into a space center to bring a satellite down from orbit. Its scope is particularly notable in a game that’s usually grounded.

Tonally, I noticed early on a disconnect between how the marketing campaign portrayed it versus what it actually is. Absolutely for the better. I was vocally skeptical about its tone being too cringey, with dancing enemies and “wacky” characters amidst bright pink and yellow color splashes. It’s actually more humorous and even can be charming. Item descriptions are creative, as are the names of non-playable characters (NPCs) at outposts. Combine this with a talking vehicle, voiced by Wonder Woman herself Lynda Carter, and the unique personas of the three main helpers, this tonal imprint is more subtle than the advertising proclaimed.

Yes, there’s an enemy type that uses a baseball bat to hit grenades towards Walker. Which means, of course, that Walker can volley them back by pressing the melee button. When throwing a “Vortex” gravity bomb at enemies, they will bobble the sphere in an attempt to catch it before it sucks them up and launches them into the air. These small touches help to shape the game’s tone just as much as its frantic action does.

From a tech standpoint, it’s a mostly smooth experience on Xbox One X. Super crisp frame rate, even amidst the most frenetic of sequences, without noticeable hitching. Unfortunately there were a few hard crashes in the first third of my 30-hour play through, though luckily none after its latest patch. Really the only sticking point was how slow the menus are, which is ironic since everything else in the game is fast-paced.

When throwing a “Vortex” gravity bomb at enemies, they will bobble the sphere in an attempt to catch it before it sucks them up and launches them into the air. These small touches help to shape the game’s tone just as much as its frantic action does.

I will note its desolate setting means that the world doesn’t feel as “lived-in” as other titles, even those within the genre. The wasteland is technically true to form in this regard, though I’ll reiterate that the spacing between areas is smartly designed in that activities are never too far away.

While I had a blast, it’s certainly not perfect. Driving around is fine, though vehicular combat leaves much to be desired. In fact, I had more fun flying in the mini gyro-copter than any combat encounter on the open road. Additionally, there’s only one upgradeable vehicle. I was hoping for more flexibility here.

There’s also a type of horde mode called Mutant Bash TV, which adds to the world-building however I found it to be underwhelming. Racing, on the other hand, is way more fun even if a temporary distraction. Occasionally, one of the NPC from the game’s racetrack will flag Walker down on the road, trying to coax into an impromptu race.

Ultimately, I went into Rage 2 with minimal expectations, if not expecting to be turned off by its tone and determination to be “cool.” I’m happy to say with certainty that I was wrong about it.

It’s a special thing when a game subverts expectations to leave a more lasting impression than ever thought possible. This is my experience with Bethesda’s latest, a wild ride with quick combat sequences and more subtle world-building than appears at first glance. If John Wick is the movie equivalent of a video game, then Rage 2 is its often thrilling and always unabashed gaming counterpart.

Sources: Bethesda Softworks, Internet Game Database, Rage Wiki, Screenshots captured on Xbox One X (Except Artwork & Enemy Close-Up).

-Dom

Slow, Curious & Tragic, Life is Strange 2 Stands Out on its Own

DomsPlaying

Impressions are based on the three episodes available for Life is Strange 2 out of its scheduled five. Mild spoilers ahead.

As far as adventures in video games go, Life is Strange 2 is powerful and thoughtful enough to be celebrated on its own. Separate of its predecessor. It’s deliberate, mysterious and often emotional, forcing the player to make critical choices that drive the narrative and have unexpected consequences. Being the one that chooses how the protagonist acts, and what happens to characters as a result, makes it that much more impactful than a traditional linear story.

Even though it’s labeled as if it’s a sequel, the adventure game from Dontnod Entertainment that’s published by Square Enix is not a follow-up in the usual sense. It doesn’t feature characters from 2015’s Life is Strange, which centered on the story of time-manipulating teenager Max Caulfield and her best friend Chloe, and instead shifts its focus to a Mexican-American family of three living in Seattle.

Life is Strange 2 is episodic, while played from a third person perspective. It began in September with Episode 1: Roads then continued with January’s Episode 2: Rules through Episode 3: Wastelands, which released days ago. What separates it from other narrative-focused titles is choice, then repercussion. Decisions don’t just have ramifications, they drive the story forward and force us down one of a various branching paths.

Across these episodes, the game delves into the relationship between Sean and Daniel Diaz, regular brothers from the Northwest that can’t seem to avoid terrible events. The Diaz brothers’ single father Esteban is slain by a police officer after he tries to defend his sons during an altercation, after which younger bro Daniel mysteriously causes a destructive shock-wave that accidentally kills said police officer. It’s an intense, saddening sequence, something that unfortunately turns into a theme for the siblings.

Whether it’s pure panic or fear of being persecuted, the boys flee from the scene then opt to venture to their father’s homeland of Mexico. It’s a rash decision, though somewhat understandable from a teenager and 9-year old. The elder Sean turns into Daniel’s paternal influence, while trying to repair their friendship that became fractured as Sean matriculated through high school.

What follows is both a literal and figurative journey for the pair, plus the player itself. We control Sean, as the two bond and bicker while coping with the desperate feeling of loss. Simultaneously, they work to understand Daniel’s special powers, which seem to be a kind of telekinesis as he can manipulate objects with his mind. Daniel is also curious of his mother, Karen, who Sean resents because she left the family before the game’s story begins.

Pacing is slow. Methodical, even. This approach, which might be a hindrance in other cases, is the opposite here. It allows exploration through the game space. Accentuates the intimate character moments that many other titles don’t even attempt, for fear of disrupting the action. Dontnod challenges players to be mindful in their wandering, frequently rewarding with tidbits of character detail and world-building akin to something like a BioShock.

The initial episode is its most sorrowful, as the brothers move south through the wilderness. Small moments of solace, such as those where Sean patiently teaches Daniel how to skip stones or they race to gather firewood, are quickly interrupted by the ever-present feeling of despair that they can likely never return to a normal existence.

Now, not everything is handled with this level of subtlety. The game is heavy-handed in its portrayal of stereotypes, especially when the brothers encounter a “racist redneck” that kidnaps Sean while throwing slurs as much as fists. This pops up again in a couple spots. Though I understand the game’s writers wanting to convey character prejudices overtly, I found myself hoping for a more delicate approach.

After escaping the racist, the boys receive help from friendly travel blogger Brody then move further towards their intended destination. Episode 2: Rules finds them occupying a winter cabin, alongside a new puppy named Mushroom. One theme that arises here and continues throughout is Daniel’s relationship with those other than Sean, as the latter moves into an authoritative role. Their quiet existence is upended as tragedy strikes again, with Mushroom being attacked by a wildcat. Throughout these moments, the player can decide to encourage Daniel to use his powers or to avoid them at all costs. As with everything, this has its impact on one’s individual story line.

Sean decides the boys should meet their grandparents on their mother’s side, who live in a small Oregon town. This brings a familial element that was noticeably lacking, providing momentary stability. It also stokes Daniel’s curiosity about his mom, which Sean is reluctant to even mention yet alone explore.

During this time, Daniel saves and befriends Chris, the main character from Dontnod’s standalone demo The Awesome Adventures of Captain Spirit. Chris has also faced tremendous loss with the death of his mother and an abusive father, so he escapes into his fantasy of being a super hero. With Daniel at his side controlling objects floating in space, he believes he has actual powers. It’s another example of Daniel’s independent character maturation. The player can either plead with him to reveal his powers to Chris, or keep it a secret. One particular consequence of this choice is shockingly catastrophic.

This is also where we meet key characters for the next episode, while the group is shopping for Christmas trees with Chris’ father. The boys briefly chat with street musician Cassidy and her friend Finn, both of which are “train hoppers” living free from the cares of society. It’s clear that Sean is envious of their more carefree attitude, revealed during this scene that mainly acts as foreshadowing.

As usual, the brothers must bounce when the police stop swing by on a tip. This is especially painful, since their grandparent’s home seemed a fitting spot for them to settle down. Plus, Daniel openly expresses that he’s sick of running away and wants to find his mother.

Episode 3: Wastelands is in my opinion the weakest so far, as it’s the most cliche with a predictable structure. This doesn’t mean it isn’t good. In fact, because we get to know so many new faces, it has the best character moments yet. It’s just that the story arc is more typical than the prior two episodes. I will say the end is explosive, showing how much their situation is escalating the more they get involved with people out on their own.

The setup here is.. convenient. (As happens in media, to bring characters together and progress stories in parallel.) Sean and Daniel somehow meet up with Cassidy and Finn, then begin working on an illegal weed farm in Northern California to save up cash for Mexico. The campgrounds in the woods is liberating and constrictive at once. These folks are free to do what they please outside of work, but have a rigid regimen when laboring for a dangerous landowner and his goon partner.

A standout sequence of this episode is a fireside gathering, where group members exchange depressing stories. It’s uniquely powerful to hear everyone speak so openly about their lives, and reinforces a general theme that looking towards the future can help alleviate hurt caused by one’s past. Both Sean and Daniel can share memories, depending on player action.

This portion also allows choices related to sexuality. Finn presents as bisexual, while Cassidy is interested in men and flirts with Sean. The player can romance either, which is refreshing and speaks to the freedom theme. Our protagonist is at the age where he’s still exploring his sexuality, so it’s a poignant sequence that shows he’s still so young despite having the responsibility of caring for his brother.

As noted, the episode concludes with an intense sequence that I won’t spoil. Other than to say that Daniel and the player have a lot to learn about how powerful he can be.

At this conclusion, multiple mysteries are still unfolding. There’s the overall trajectory of the boys’ intention to reach Mexico juxtaposed against the allure of settling down. Is that even realistic? Can they ever return to their childhood town? The lingering questions about their mother remain, especially as the Diaz boys disagree: Daniel wishes to track her down while Sean wants nothing to do with her.

One critique is that I wish it had more details on choices and consequences after you finished a sequence, similar to the flow chart approach of Detroit: Become Human. Each episode shows a recap of decision points, though provides less detail than its peer.

Another minor point is that you can circle back in what’s called “Collectible” mode, however these don’t apply to your main save. I wish that any souvenir or backpack customization option found in this mode could be used during my main progression. It’s fun to make Sean’s backpack look unique, but I don’t want to reply entire sections just to get those I’ve missed.

Misery surrounds the Diaz brothers. However, they fight to avoid being defined by it. There’s a youthful hopefulness in their progression, especially Daniel’s innocence amidst great power, that I really would like to carry throughout the remaining installments.

Strangely enough: Despite their dreadful circumstances, I’m continually hopeful.

Sources: Dontnod Entertainment, Square Enix, Screenshots captured on Microsoft’s Xbox One X.

-Dom