Category Archives: Review
Usagi Drop is a straight-forward, endearing, and deeply compelling slice-of-life manga. It follows the travails of a 30-year old man named Daikichi whom notices a 6-year old girl wandering around his grandfather’s funeral. After asking family members, it appears that the girl, Rin, is actually his grandfather’s illegitimate daughter by an unknown mother, whom has all but abandoned Rin. As the relatives discuss putting Rin in foster care, Daikichi decides (almost on a whim) to take care of Rin himself.
As I mentioned above, this manga is slice-of-life and mainly focuses on the sort everyday considerations a 30-year old bachelor has to make in the context of raising a child. However, the scenes and scenarios presented are not being done solely for comedic effect or to evoke sympathy for Daikichi’s lost carefree lifestyle. Rather they are all the sort of mundane miracles of parenthood and self-discovery. And for any person interested in Japanese culture, Usagi Drop becomes an exceedingly intimate glimpse into everyday life over there (or at least an example thereof).
It is actually difficult for me to express exactly how amazing I feel Usagi Drop is. Perhaps it is because I am also a 30-year old bachelor without children that I identify so well with the primary character. But I feel like there is an undercurrent of brilliance to this manga that simply needs to be experienced. There is an inherent progression to the relationships amongst the characters, and as they grow up, you feel yourself grow up with them. I really cannot describe it any better than that.
Simply put, if you ever find yourself in need of an example of a manga to prove to someone that these aren’t all simply childish (or perverted) comic books, Usagi Drop is one that you should immediately feel comfortable offering.
Beyond the Boundary
Beyond the Boundary is a 12-episode supernatural anime surrounding the troubles of Kanbara, a high school student that is half-youmu (e.g. half-spirit creature) which makes him effectively immortal. One day he meets Kuriyama, a transferred “bespectacled beauty” who nevertheless repeatedly tries to kill him. Turns out she is part of a cursed Spirit Warrior clan that makes a living killing youmu and selling the “spirit crystals” that they drop. Problem is, Kuriyama can’t bring herself to actually kill any youmu aside from Kanbara, much to Kanbara’s immortal dismay.
The series develops a more serious side as time goes on, and there are some more intricate shenanigans going on behind the scenes. The jokes were amusing, the animation stellar, and the plot perfectly serviceable. If you are just looking for something to watch and kill time, Beyond the Boundary is not bad.
One Week Friends
One Week Friends is a rather endearing 12-episode anime that explores the somewhat novel friendship of Yuki Hase and his classmate Kaori Fujimiya. After building up some considerable courage, Yuki finally tries to ask Kaori – whom never seems to talk to anyone – to be his friend. After a week passes, Yuki learns Kaori’s secret: she loses all memories about her friends every Monday. The rest of the series deals with Yuki’s efforts in trying to get Kaori to remember him, and how they handle their relationship starting over every seven days.
I considered this anime to be well worth the watch. The premise is pretty interesting and the burgeoning relationship between Yuki and Kaori satisfying in its development.
Kimi no Iru Machi | A Town Where You Live
A Town Where You Live (hereafter Town) is a roughly ~260 chapter drama/real life/romance manga that I really enjoyed. It follows the early high school life of Haruto as he experiences perhaps the standard harem-esque tropes of this genre: panty jokes, comical misunderstandings, and every female of child-bearing age falling instantly in love with him. Except… not really. Whether it was intentional or not, Town seems to mature in tandem with the growing age of its protagonists. There are still jokes here and there, but the background subject matter becomes as serious as the relationships it contains.
As mentioned, I really enjoyed reading Town, especially given its character progression and closure. There is a little bit of fan service sprinkled in (especially for the chapter 200 “alternate-ending” celebration), but it is not especially obnoxious about it. If you can get past the main character being a real dumbass when it comes to unintentionally leading women on, I think you’ll find it difficult to put down.
Recommended price: $0; bundle
Metacritic Score: 79
Completion Time: 13 hours
Buy If You Like: Racing games with FPS elements
RAGE is a simplistic, 27gb racing game with some FPS bits tossed in.
Perhaps that is not entirely fair. If you include all the time you spend backtracking through the same exact environments, Halo-style, the game probably comes out to be 51% FPS or thereabouts.
In RAGE, you take control of a mute super-soldier who just woke up from cryo in the post-apocalypse future. After being rescued from some blood-thirsty raiders, you join the most generic-named faction in the world, the Resistance, to fight against the second-most generic-named faction, the Authority. Apparently the “Ark” containers (like the one you were on) were all supposed to be opened at the same time to usher in a new age of civilization. Turns out other Ark survivors somehow stopped that from happening, thus establishing themselves as rulers over the populace that apparently didn’t need space technology to survive the apocalypse.
Technically the above is a whole mess of spoilers, but considering there is literally no other plot, no character development, no competant writing, or really any redeeming factor for the game, it becomes necessary to work with what you got.
I take that back. There is precisely one thing RAGE got amazingly correct: melee enemies that are legitimately scary. The typical FPS that features melee enemies usually has to rely on them being bullet sponges or incredibly fast to compensate for their lack of cover-usage. In RAGE, melee enemies dodge back and forth, run up the walls, swing from ceiling fixtures, and otherwise make you reevaluate your damn-near-futile attempts at shooting them in the head. While I’m sure a lot of their acrobatics came down to heavy environmental scripting, it’s still something I’d like to see in games going forward.
What I would not like to see ever again is such a piss-poor implementation of damn near everything else. Little things start to grate on your nerves, like how pressing Esc brings up the main menu instead of canceling out of the Tab menu. Or like how you can hit Esc, choose Quit Game, and then it takes you to the Title screen where you have to hit Enter and then Quit Game again just to leave. Or how you have the ability to jump in the game, but not enough height to actually jump over anything 99% of the time.
I can appreciate the devs rebelling against the “only carry two weapons” FPS headwinds, but out of the nine weapons, eight of them have at least one extra type of special ammo. The crossbow carries normal arrows, explosive arrows, electric arrows, and mind-control arrows. Cool… except there is exactly one stage that allows electric arrows to do anything special (the stage they’re introduced in), and the vast majority of the enemies you fight after getting mind-control arrows are either immune to the effects or infeasible to use against.
In the end, RAGE doesn’t know what it wants to be or to do, and neither do I. Well, other than wishing I was playing something else. If you can grab it as part of a bundle, it’s worth checking out the legitimately scary melee enemies. But I wouldn’t necessarily give up a box of Girl Scout cookies for the privilege.
Recommended price: $0; bundle
Metacritic Score: 91
Completion Time: ~15 hours
Buy If You Like: Benchmarking your PC, Sandbox-ish FPS games
Crysis came out in 2007, nearly seven years ago, and was the long-reigning benchmark of PC gaming everywhere. Not necessarily in terms of gameplay, but literal benchmarking – if your rig could play Crysis on High, you were hot shit back in the day. Crysis 3 was out for months before I acquired the original in some Steam sale or another, but I wanted to give the original its due, especially considering I finally had a computer (in 2012) that could run this beast.
Unfortunately, Crysis on Steam caused me considerable issues. I honestly cannot begin to recount exactly what steps were required, but I know some modding and 3rd-party downloads had to be done before the game would even boot up. Even when it deigned to boot, I experienced a C2D event roughly every hour or two on top of game-stopping bugs like missions not ending correctly.
Outside of those issues though? Damn, people weren’t kidding about the graphics thing. I mean, the game basically looks kinda like Skyrim, but Skyrim was released in 2013.
What I was really surprised by was the general gameplay though. Crysis is a FPS game where you control an elite soldier equipped with a nanosuit that has a handful of alternate abilities like cloaking, super-strength, super-speed, etc. Unlike perhaps every other game in existence though, you get all of those abilities right at the start. Indeed, most of the game consists of you getting a primary and secondary objective on a large map and being told to hop to it; the pseudo-nonlinearity really reminded me of the original Far Cry. This leads to the game feeling rather easy though, as for the most part you can abuse Cloaking and jungle-hiding to take out basically every enemy in the game, especially considering the suit provides regenerating health.
Overall, Crysis is FPS in which what you do in the first 30 minutes of gameplay is the same thing you’ll be doing in the last 30 minutes of gameplay. The graphics and environments are phenomenally well-done, but I’m not entirely convinced it would be worth the headache of installation unless you want revenge on its at-the-time insane PC requirements.
Game: Sanctum 2
Recommended price: $0
Metacritic Score: 77
Completion Time: 10 hours
Buy If You Like: Console ports of a dumbed-down sequel
The original Sanctum, along with Orcs Must Die that was released around the same time, really sparked my interest in Tower Defense as a genre. Prior to that, Tower Defense was just associated with those annoying missions in RTS games that always seemed too hard or too easy. But Sanctum? Here is Tower Defense where you can not only build the maze yourself, but actually get down and dirty with shooting the bad guys. And multiplayer! So fun.
It’s just rather unfortunate that Sanctum 2 ended up being the sequel.
I have not even bothered to investigate it, but Sanctum 2 <i>feels</i> like everything that goes wrong with console ports of otherwise great PC games. There are four characters to choose from, each with various innate abilities and a main weapon that cannot be swapped out. Want to use the Sniper Rifle and Missile Launcher? Nope, that’d be too complicated. Instead of getting a pile of resources and having to carefully consider their application – do I build an extra-long maze, or upgrade all my towers? – you specifically get X number of wall units and Y amount of resources to apply to 15 deployed towers maximum. Oh, and everything is a tower now; there aren’t any floor traps (unless you count landmines).
I can understand the logic behind most of these changes, as it pretty much universally speeds up the matches. “You can build 8 walls and drop maybe 2 towers this round, good luck.” I can wrap my head around breaking characters into distinct classes, as perhaps a way to foster more teamwork. The designers even took the time to introduce a Perk system to allow a bit more customization with characters. And hell, the ability to voluntarily buff enemies (sorta like in Bastion) to gain more XP is a pretty clever difficulty switch.
But at the end of the day? The game still felt like a truncated console port. I found a rather ridiculous combo of perks and weapons early on and sailed through the game with the exception of a few maps that had surprise bosses in them (most of which can simply destroy your maze walls). The tension between adding more walls or more towers afforded a surprising amount of strategic depth to the original game, and it’s simply absent here. In short: a lot of the things that were fun in Sanctum are replaced with either not-fun things or simply missing altogether.
Game: Far Cry 3
Recommended price: $15
Metacritic Score: 88
Completion Time: ~18 hours
Buy If You Like: Far Cry series, mostly-open world FPS
Far Cry 3 is the latest entry in the mostly unrelated, Heart of Darkness-esque Far Cry series. The game follows Jason, a trust fund frat boy who is violently thrust into a hideous underworld of slavery, rape, and torture on an otherwise pristine island paradise when his friends are captured mid-vacation by pirates. Much like the other two games, FC3 features a long string of story missions set amidst a wide-open island sandbox.
Far Cry 3 has a lot going for it. The game is unbelievably slick, from top to bottom, in almost every respect. For example, it is easily the best-looking Far Cry, with graphics and sweeping vistas that rival the likes of Skyrim. But the slickness permeates deeper still, down to character animations too. Stealth kills start off brutal and in-your-face, only to escalate further once you unlock the ability chain them together, use the target’s own knife to score a long-distance secondary kill, and so on. This sort of Ninja Gaiden feel is on top of the many layers of weaponry that impart similar visceral thrills, be they sneaky bow sniping or front-door grenade launcher-ing.
Another thing that was extremely well-done are the missions, dialog, and general plot. Missions flow well, the various tasks you are given feel substantial and necessary, the characters are absolutely unique, and there is a general sense of gravitas to your actions. In comparison, the mission structure in Far Cry 2 made less sense, or at least, it felt less impactful.
But therein lies the rub.
As I have mentioned over the years, I view Far Cry 2 as one of the more sublime gaming experiences I’ve ever had. That game knowingly used its own flaws as a vehicle for storytelling, such that by the end of the game, you felt exactly how the in-game characters felt: weary, despondent, and resigned. Far Cry 3 attempts to recall the same lightning, but it can’t quite pull it off, for several reasons.
One of those reasons is that Far Cry 3 feels a lot more “gamey” than its predecessors. Part of the progression system involves hunting and skinning various animals to unlock additional weapon slots, a larger wallet, and so on. By itself, the mechanic is perfectly valid. However, it feels more artificial, especially given the fact that you are straight-up using cash in the stores to buy things. Why do I need to skin goats to expand my $1000 wallet? Couldn’t I just, you know, pay the $50 for a new wallet? Does this store really sell sniper rifles but no wallets?
That might sound like a little thing, but it’s precisely the little things that can break immersion. Far Cry 3 features a normal sort of game map, for example, but it’s a, ahem, far cry from the in-game map you had to actually glance downwards to see in FC2. More jarring to me though, was the crafting interface that necessitated crafting via the menu screen. Popping syringes felt pretty smooth, but effectively pausing the game with bullets in mid-air to pump out another half-dozen healing ampules just sorta felt wrong. And I haven’t even mentioned the interface riddled with perfectly usable but undeniably busy UI elements, mini-maps, quest trackers, and so on. Far Cry 2 didn’t even have crosshairs on by default, for god’s sake.
It is worth mentioning, in a general sense, that Far Cry 3 also continues the series penchant for wildly oscillating difficulty curves. If your natural inclination is to try and be as stealthy as possible when assassinating targets, you will experience some nice challenges. If you instead realize that a single flame arrow can burn down the hut your target is inside, or your bafflement towards unlocking infinite grenade launchers so early in the game leads to always equipping it, well… the game is remarkably easy. There are still a few missions where you can lose by raising the alarm or by letting an NPC die, but damn do you feel silly sneaking around after bombarding outposts with grenade fire and/or regular fire. Same outcome, minimum effort.
Overall though, I still feel like Far Cry 3 deserves top marks. Recommending that someone play FC2 carries a bit of baggage, as it doesn’t really become “worth it” unless they stick through it the entire way. In contrast, someone could play Far Cry 3 at pretty much any given moment in the game and feel like they experienced the best bits. I have seen some reviews that lament FC3’s later half for being less noteworthy, but while the main antagonists are less interesting at that point, it is somewhat offset by gaining a wingsuit and ample means to use it everywhere. Far Cry 3 is not particularly long, but I believe it’ll be worth the lower purchase price for most anyone… or at least FPS fans.
Game: The Witcher 2
Recommended price: $5
Metacritic Score: 88
Completion Time: ~36 hours
Buy If You Like: The Witcher, atmospheric and political fantasy gobbledegook
The Witcher 2 (TW2) is a sequel to the original, fairly ground-breaking game following the travails of Geralt of Rivia. Geralt’s profession is a Witcher, a human who has mutated his own genes in order to more effectively fight the monsters that spontaneously appeared in the world many years ago. After the events in the original game, Geralt was playing bodyguard to a king only to see his charge assassinated in his presence and then framed for the crime. TW2 takes place immediately following those events, and the wider ramifications and intrigue surrounding a recent batch of regicide.
I am going to be completely honest here at the beginning by saying that I finished playing TW2 only grudgingly, and after several months-long breaks inbetween. The game features a decently robust journaling system that will allow you to read up on what you are supposed to be doing and the general lore of the entire game world, but the litany of nonsense fantasy pronouns and references to the original game events (and the books they are predicated on) is truly unending. While I am willing to admit that the breaks I took inbetween playing certainly contributed to my general confusion, I do not absolve the game from what I feel was a profound lack of engagement. “Why was I doing this again?” “So I’m fighting this guy, but it’s important I don’t kill him, because I want this valley to become independent, so that… err?”
One of the major strengths of the first Witcher was its creation of what felt like a distinctly authentic atmosphere. Most fantasy games have a sort of whitewashed, Disney quality to them at odds with the historical reality of peasantry who bathed infrequently, had access to few paved roads, and a general unconcern with hygiene. The Witcher felt dirty, gritty, and real. I am happy to report TW2 continues in that praise-worthy tradition. Hovels look like hovels, trolls like like trolls, and you can practically smell the NPCs through the screen. The casual race discrimination (in terms of humans vs nonhumans) and ease in which people’s lives are upended or destroyed feels correct in a way practically unique to the genre.
Layered on top of this “fantasy realism” are the most banal, discordant, gamey quests and mechanics that I’ve ever seen.
We are talking about completely shameless fetch quests, kill 20 monster quests, and boomerang quests that shatter any sense of immersion in the fictional world. In fact, by the end, I hated the game world for its perfectly realistic twisted pathways and obstacles, as I was forced to circumvent them dozens of times as I did quests A, B, and C in sequence. And can I talk about the map for a second here? Literally the worst, most useless map in any videogame I have ever played. Shit made no sense, and zooming out gives you a view of the overworld that had zero to do with anything given how you were actually trapped in small zones around the one main location of the Chapter.
The combat in the first Witcher was not particularly deep or complicated. Combat in TW2 has actually devolved to the point where I was feeling nostalgic for the timed button pressed of the original as a measure of skill. All you do here is left-click for a quick attack and right-click for a strong attack. You can block, cast a Sign, roll-Dodge, or use an item too, but combat never felt integrated into the game world at all. Maybe the devs were intentionally trying to ensure you didn’t feel like a badass playing as a Witcher. Well… mission accomplished.
By far the worst aspect of the game though (map aside), is the direction that they took potions. See, potions are an important part of the game’s fiction; Witchers mutate themselves almost solely so they can brew potions that let them regenerate health, have extra power, and so on. In the first game, you could drink potions at any time, but could only meditate (e.g. sleep off the toxic potion side-effects) at certain locations. Which was dumb. However, TW2 decided to let you meditate almost anywhere, but you must be meditating before you can drink a potion. When can you not meditate? In combat, near combat, or somewhere where combat is implied to be occurring. The issue is that your abilities are balanced around potion use but potions only last for 10 real-time minutes. So you spend the entire goddamn game quicksaving every 30-seconds because getting into combat without having potions up is suicide, but you can’t exactly be running around with potions up the whole time, especially when you are exploring.
I am belaboring the utter travesty of the combat system because I’m at a point in my life where this shit just doesn’t fly any more. I used to suffer through all kinds of JRPG combat systems for the fruit that was their (quirky) plots. You can’t really even say that TW2 would have been a better Adventure game though, because the physicality of fighting is important to understanding the world Geralt and friends inhabit. You can’t cut-scene every battle, after all.
Ultimately, I think what killed The Witcher 2 for me was the simple fact that the rest of the gaming world continued moving. Yeah, this is a game that came out in 2011, so a certain amount of slack should be given. But… I can’t. If you have played Skyrim, for example, coming into this game will be physically painful – you will chafe at not being able to hop off the wall where you want, not being able to attack when you want, not being able to go where you want, not being able to drink goddamn potions when you want. All of which is a real shame, because The Witcher 2 features a wide array of morally grey choices that actually change large portions of the game, rather than being “mere” emotional placebos.
But, you know what? I kinda want to have fun when I’m playing video games and The Witcher 2 offered me the opposite of that. I’m keeping an eye on The Witcher 3 because I enjoy the game world they have created and the choices you can make inside of it, but I am oh so wary. And oh so tired of poorly implemented game features/design.
Game: State of Decay
Recommended price: $7.50
Metacritic Score: 76
Completion Time: 18 hours
Buy If You Like: Grand Theft Zombie, Sandbox Roguelikes
State of Decay is an open-world zombie sandbox game originally released for Xbox Live Arcade and ported to the PC. You take control of a randomized character and thereafter do your best scavenging buildings for supplies to build up your home base while recruiting additional survivors whom you much switch to after your character becomes tired or injured. Or killed, given how State of Decay features permadeath and auto-saving checkpoints. There is a fairly standard plot you can run through to beat the game, but it can be ignored for however long you wish.
I want to highlight the “PC port” part of this game again, because State of Decay unfortunately takes some hits from both angles. First, the game can be buggy. Zombies inside buildings can sometimes clip through the walls and start trying to give you a nice hug while still being immune to bullets to the face. During one play session, the NPCs on escort missions decided they would just stand there at the end of the mission instead of running to the “end mission” zone. Since the game won’t save until a mission in complete and there isn’t any way to cancel a mission in progress, I was stuck until I tried the outlandish solution of physically moving them inches at a time by bumping into them with my character. It worked, by the way.
The second PC Port hit comes from the fact that the game… well, it could use some work mechanics-wise. The core gameplay itself is rather amazing and refreshing. The map very much feels like a real set of small towns, and you can explore and ransack 99% of the buildings you see. As anyone who has read this blog might know, I have a (un)healthy obsession with looting stuff in post-apocalypse games like Fallout, and State of Decay definitely scratched that itch.
The problem is that some shit doesn’t make any sense, gameplay-wise. When you’re looting a house and come across a crate of supplies (Food, Medicine, Ammo, etc), you can load it into a duffel bag and take it back to your base to deposit. You can even drop the duffel bag and pick it up later if you want. What you cannot do, apparently, is load the duffel bag into your car trunk. Or have the NPC that accompanied you into the house to carry something. Or drop off the supplies at an Outpost you created, even though it has a Supply Chest that gives you access to all your gear no matter the distance to your home base. While you can call in scavengers to sort of auto-loot the house, the fact that they travel on foot and are fully exposed to the zombies you likely drove right past means looting the next town over is pretty much 100% up to you.
Also, I’m getting real tired of games where you can loot items from containers, or leave items in containers, but cannot put items back in containers. “Oh, I suppose I have to destroy this perfectly useful baseball bat because I picked it up first instead of this handgun.” That sort of nonsense is nothing more than lazy programming.
The game also doesn’t quite seem sure what type of challenge it wants to present. Your character can sneak around and even perform stealth kills on zombies, but said stealth kills aren’t really stealthy at all – it always makes enough noise for other zombies to investigate. That’s… realistic, I suppose, but it makes stealth gameplay mostly irrelevant. And while it is frighteningly easy to die when mobbed, for the most part killing zombies is EZ-Mode; melee attacks interrupt zombie grabs, and homemade silencers make gunplay perfectly safe. There are stereotypical “Freak” zombies with extra abilities, but the open-world nature of the game means that most of the time you can lure them outside and then run them over with a car.
At the end of the day though, I enjoyed my time killing zombies and looting things in Trumbull Valley. The skeleton of an amazing game is definitely there; the devs just have to flesh it out a bit more. What I would like to see is a full-fledged sequel called Nation of Decay or something, in which I can load up the back of my Camero with supplies, pop a 80s rock ballad in the tape deck, and slam a zombie with my car door as I speed down the highway into the sunset.
Game: The Last of Us [PS3]
Recommended price: $30
Metacritic Score: 95
Completion Time: ~17 hours
Buy If You Like: Metal Gear Zombie, brilliant storytelling, good games
When it came down to a decision as to whether I should do an extremely late jump into this (now past) console generation, I really only had one question: did I want to play The Last of Us, or the Halo series? Despite ultimately choosing the PS3, I waited on purchasing The Last of Us for quite some time. This was the reason I bought this console, and I was a bit apprehensive about putting that $200+ decision to the test. After all, everyone raved about Bioshock Infinite at release and looked how that turned out for me. How could this Metacritic 95/9.1 game live up to the expectations I have levied upon it?
The answer is “Easily.”
The Last of Us (TLoU) is 3rd-person, stealth-emphasized cover-based shooter set twenty years into a “zombie” post-apocalypse. An outbreak of mind-destroying spores has nearly wiped out humanity, and the survivors are doing their best to stay alive in a world of infected bites, raiders, and mundane starvation. You play as Joel, a professional smuggler and hardened badass, who along with your partner Tess is looking to get even with a guy who robbed you both of a shipment of guns. After a series of close calls, Joel & Tess take up one last job: to smuggle a 14-year old girl out of the city and to a safe house.
The principal gameplay is exploring, sneaking, and killing from an over-the-shoulder perspective. While the environments are extremely linear and the number of enemy types fairly basic, I found the gameplay itself to never get dull. Supplies are almost always limited, so some real decisions will need to be made as to whether you take the time to sneak around and get some stealth kills versus lobbing a Molotov cocktail into that group of enemies right now. Compounding this, the human AI is brutal in its sensibility – enemies will fan out, attempt to flank you, send only one guy to investigate noises while the others watch, and so on.
About the only complaints I have about the combat side of things is the reverse difficulty curve and checkpoint system. Like many similar games, TLoU is harder in the beginning and only becomes progressively easier as time goes on. Part of that is familiarity with effective strategy, given how there aren’t a lot of new enemy types, and part of that is from access to more/better weapons. Indeed, facing human enemies became somewhat of a joke later on since they would frequently congregate in small groups at the beginning of encounters, which made it extremely easy to blow them all up at once with a nail bomb. And while I give Naughty Dog some credit for a truly seamless checkpoint system, it ends up doing some strange things to the difficulty insofar as discreet encounters only end up being ~5 minutes long.
For as fluid and exciting the combat system may be, where the game truly shines is everywhere else. The visual juxtaposition of ruined human civilization and a greenery of nature reclaiming the space filled me with sadness and wonder simultaneously; it feels like the most compelling combination between the movies I Am Legend and The Road. The musical score is amazing in its ambiance and willingness to not take over a scene. As for the voice acting, well, I never really noticed there being voice acting at all – it was just normal, natural dialog.
The overall narrative is likely the thing most everyone talks about when TLoU is brought up, and I can confirm that it is about as amazing as advertised. The weird thing is that there was not one particular moment in which I remember sitting there thinking “Wow, that’s some good videogame plot.” Instead, I felt permanently affixed to my screen, playing in five-hour increments, as each scene segued perfectly into the next and I eagerly devoured every little detail.
Now that I think about it, there actually were a few details in cut scenes in which my jaw dropped at the excellence of Naughty Dog’s craft. When Joel ever-so-briefly looked at his watch, for example, I was taken back to that first wink in Mass Effect when I understood, for the first time, how much farther gaming as a storytelling medium has evolved. These subtle-yet-significant gestures hold such a hidden depth of emotion that it boggles my mind that their meaning wasn’t as belabored in-game as I am doing right now. I mean, the gesture would be ruined if it called more attention to itself, but it is such a calculated risk that I’m surprised they did not.
Ultimately, The Last of Us is one of those shining examples of Games As Art that also happen to be extremely compelling to play. And unlike some other titles which overreach in their attempts to be narratively “deep” and complex – *cough* Bioshock Infinite *cough* – The Last of Us simply presents its case amongst gripping gameplay and, story told, drops the mic as the screen fades to black.
Game: Torchlight 2
Recommended price: $5/bundle
Metacritic Score: 88
Completion Time: 35 hours
Buy If You Like: Torchlight 1, Poorly itemized Diablo-clones
Torchlight 2 is the hack-n-slash sequel to the original Torchlight, itself an homage and erstwhile competitor to Blizzard’s Diablo series. Indeed, Torchlight 2 was released around the same time Diablo 3 was making headlines with its controversial always-on requirements and server-dependent gameplay. While it makes a great counter-point to Diablo 3 on the feature listings, Torchlight 2 is essentially more of the same from the original game. Which, in my case, is bad news.
My fundamental gripes with both Torchlight games are their meaningless adherence to archaic game design, and a fundamentally terrible itemization/progression system. Torchlight 2 features four different classes to choose from, each with three separate class trees. While they mainly follow traditional hack-n-slash roles, there does exist room for experimentation: there are more than enough talents to choose from to transform, say, the archer-esque Outlander into a melee-only tank (albeit not likely as powerful as a normal tank class). Where this experimentation immediately breaks down is how there is no respecing in Torchlight 2; at most, you are allowed to get a refund on your last three talent points. While this was how things worked in Diablo 2, it is also true that at one point people thought asbestos as insulation was a good idea.
The more crippling flaw though, and the singular design that undermines everything else the game set out to accomplish is the awful itemization and item progression system. While not as outlandishly terrible as the original Torchlight, it is still entirely possible (and even likely) that you will receive a random drop at level 17 that you will still be using 40 levels later at the end of the game. The core of what made the Diablo series so compelling to play was how items and gold erupted from nearly every enemy you faced, and thus you had a steady supply of dopamine over the course of what otherwise is series of perpetually unengaging clicks. Torchlight 2 has none of that – nearly two-thirds of the game was spent vendoring every ring, helmet, amulet, and pants I came across.
It gets even worse, if you can image that.
Clearing an entire map’s worth of mobs and collecting every single piece of vendorable debris results in what I would like to term one “Gear Unit” (typically 2000g-3000g). Each GU allows you to either purchase one item from a vendor, or upgrade an existing item by either adding gem sockets, enchantments, or purchasing gems themselves. This ridiculous stinginess with gold means you are perpetually strapped for cash, only allowing you to augment the gear you’ve accumulated one map clear at a time. God help you if you’ve finally accepted the fact that you’ll never replace your boots only to have an infinitely rare upgrade drop right after spending 10,000g (or 3 GUs) on your old pair.
Oh, and by the way, the Gold Chests and Boss Chests that you are “rewarded” with for going out of your way to find the keys or defeat said boss end up dropping jack shit 99% of the time. I have found more rares and unique items out of normal, everyday treasure chests than I have ever gotten from boss chests. How do you fuck something like this up?
I am spending all this time talking about loot and such because that is the heart and soul of the hack-n-slash genre. To get loot wrong in these sort of games is to create a racing game with poor-handling cars or a FPS where the guns don’t shoot at the crosshairs. Indeed, would anyone play a Diablo-esque game if there was no gear at all? The gameplay, which consists of mowing down tens of thousands of mobs within seconds of their appearing on the screen absolutely is not compelling enough on its own, that’s for goddamn sure.
All of which is certainly a shame, as Torchlight 2 is otherwise an improved sequel in pretty much every other way. The gameplay (such as it is) feels more responsive and impactful; the environments are detailed and fun to look at; the music is about a half dozen artful remixes of the Tristram theme; and I enjoy the visual style. It just feels, you know, completely unrewarding to play.
It is worth mentioning that all of these problems have been solved by better game designers, e.g. the players submitting mods to the game. There are mods that range from introducing new character classes to entirely new dungeons to, you guessed it, fixing the loot issue by guaranteeing Unique or better drops from Gold/Boss chests. I decided early on to stick with the vanilla game because I wanted to get a feel for what the devs learned from the original Torchlight. The answer is “pretty much nothing.” Playing with mods “taints” your character though and otherwise makes you ineligible for achievements. But since the base game feels like such a massive chore to play, I highly recommend anyone deciding to install Torchlight 2 to go ahead and fix what the devs had not the brains and/or balls to do.
Game: Dungeon Raid [Android]
Recommended price: $1.99 (full)
Metacritic Score: 80
Completion Time: 10+ hours
Buy If You Like: Match-3 games, Time Killing, 10000000
Dungeon Raid is a rather brilliant and addicting “Match 3″ roguelike game in the same sort of design space as 10000000. Whereas 10000000 focused on fast reflexes combined with steady progression, Dungeon Raid has a more tactical focus with only sporadic RPG-esque progression.
The first thing you’ll notice when playing is that there is no timer or other reason to rush. Additionally, while three is technically the minimum number you need to match to capture tiles, there is no limit on how long a chain can run. Even more interesting, you can capture/trace a path diagonally if you like, opening up many more opportunities to capture tiles.
The tiles themselves are relatively simple: potion, coin, sword, shield, and skull. At the end of each move, all the skulls on-screen will deal their damage to your armor and then your HP. You “capture” skull tiles by dealing enough damage to them to bypass their armor and reduce their HP to 0. The damage you deal is determined by your base attack and then increases by your weapon damage for each sword tile you cross; skulls and swords can be chained, of course. Potions tiles refill your HP, Shield your armor, and coins increase your wealth.
The RPG mechanics come in several forms. You earn XP mainly for killing Skulls, and each level lets you pick 2 of 4 random upgrades. Some of those upgrades will be special powers (max of 4) which can have impressive effects like turning all Coins to Swords, or getting an entirely fresh board (Teleport); once used, these skills take X number of turns to recharge. Capturing Shield tiles while already at full armor will increase an armor XP bar, which lets you chose 1 of 4 upgrade options for your current gear. Filling up the Coin “XP” bar will also let you upgrade gear.
Layered on top of all of this are the bonus/penalties that come from your class, your race, and what abilities you put in your pool to randomly pick from. Classes need to be unlocked by defeating boss Skull tiles, which have their own special abilities and necessary tactics. Sometimes they drop nothing but gold, sometimes they drop a new class item, and sometimes they drop class upgrade items instead. The higher level a class is, the more you can customize it by, say, turning your priest into an Orc for the racial bonus (etc). Nothing caries over inbetween games other than these class unlock/upgrade items though, so a run in which no boss drops a token is basically “wasted” (hence the “sporadic” progression). This does suck once you realize it, but the plus side is that you won’t be “beating” the game as quickly as 10000000.
All of this sounds complicated, sure, but it becomes intuitive and fun pretty quickly and ends up feeling more like FTL and Binding of Isaac than a typical phone game. It’s fast, it’s fun, and it’ll break your heart when you lose +10 Regenerating, 30 Armor, +8 Poison Weapon toon. But you’ll immediately start again despite the fact that your lunch break ended two hours ago.
The Malazan Book of the Fallen
Author: Steven Erikson
Genre: Epic Fantasy
Books: 1-10 (complete)
I waited until finishing the very last book in this epic fantasy series before writing this review, but going forward, I am not entirely sure whether that is the best way to handle works of this size and scope. Especially series of this size and this scope.
At its base, The Malazan Book of the Fallen mostly follows the tale of the Bridgeburners, a special squad of marines in the Malazan army as they are tasked with acts of sabotage and subterfuge in a world with magic, undead warriors literally hundreds of thousands of years old, actually immortal shapeshifting dragon mages, gods, ascendant gods, elder gods, reality-destroying chaos magic, and good old-fashioned armies of human meat and bone and iron. While the Bridgeburners are an integral story arc, there are actually two more completely different ones that are of similar heft and importance.
The very first book, Gardens of the Moon, was perhaps one of the worst possible opening books in any epic fantasy series that I have ever read – it immediately tosses you into this new world, confuses the hell out of you with a cast of hundreds of individual characters, and doesn’t pause to explain anything. For example, the magic in this world comes from Warrens, which are a sort of pocket dimension aligned with certain traits. Thus, when the books says “they opened a warren,” it can both mean they are casting a spell or actually opening the warren as a means of physical escape. Or both, simultaneously. None of that is explained anywhere in Book 1.
I’m highlighting the failing of the first book because the rest of the series is so mind-boggling good. It does not have the cleverness of Name of the Wind or the timelessness of Lord of the Rings, but it’s close. Each book is designed to sort of stand on its own, following the world’s (suspiciously convenient) tendency towards a convergence of powers, but the weaving of characters and story arcs is tremendously good. While the internal monologs are consistent with the book’s fiction, they often bring up devastatingly good philosophical arguments regarding the realities of war, the existence of god, and the general ugliness of the human condition, all with not being too overt.
This is the sort of writing you can expect:
There is something profoundly cynical, my friends, in the notion of paradise after death. The lure is evasion. The promise is excusative. One need not accept responsibility for the world as it is, and by extension, one need do nothing about it. To strive for change, for true goodness in this mortal world, one must acknowledge and accept, within one’s own soul, that this mortal reality has purpose in itself, that its greatest value is not for us, but for our children and their children. To view life as but a quick passage along a foul, tortured path – made foul and tortured by our own indifference – is to excuse all manner of misery and depravity, and to exact cruel punishment upon the innocent lives to come.
I defy this notion of paradise beyond the gates of bone. If the soul truly survives the passage, then it behooves us – each of us, my friends – to nurture a faith in similitude: what awaits us is a reflection of what we leave behind, and in the squandering of our mortal existence, we surrender the opportunity to learn the ways of goodness, the practice of sympathy, empathy, compassion and healing – all passed by in our rush to arrive at a place of glory and beauty, a place we did not earn, and most certainly do not deserve.
And this (a piece of narration):
He hurried on, grimacing at the ache in his chest, still feeling the parting kiss of his wife on his lips, the careless hugs of his children round his waist.
He was a man who would never ask for sympathy. He was a man who sought only to do what was right. Such people appear in the world, every world, now and then, like a single refrain of some blessed song, a fragment caught on the spur of an otherwise raging cacophony.
Imagine a world without such souls.
Yes, it should have been harder to do.
Still gives me chills. Maybe you have to
have been there read the greater context. In any case, the series can feature both heavy emotion – there were three separate instances across all the books where I contemplated killing the author – but also welcome moments of great levity. Some examples from the latter:
‘Excellent, and your name is?’
‘XXXX. Er, we got references—’
‘No need. I am confident in my ability to judge character, and I have concluded that you two, while not to be considered vast of intellect, are nevertheless inclined to loyalty. This here will mark an advancement in your careers, I am sure, and so you will be diligent as befits your secret suspicion that you have exceeded your competence. All this is well. Also, I am pleased to note that you do not possess any parasites of a debilitating, unsightly sort. So, XXXX, go yonder and find us one, two or three additional guards. In the meantime, I will attend to YYYY.’
And another (context: the female sergeant is an alcoholic):
‘That snake! I knew it, a conspiracy! Well, I’ll deal with him later. One mass-murderer at a time, I always say.’
‘This is madness, Sergeant! Let go of me – I can explain—’
‘Save your explanations. I got some questions for you first and you’d better answer them!’
‘With what?’ he sneered. ‘Explanations?’
‘No. Answers. There’s a difference—’
‘Really? How? What difference?’
‘Explanations are what people use when they need to lie. Y’can always tell those, ’cause those explanations don’t explain nothing and then they look at you like they just cleared things up when really they did the opposite and they know it and you know it and they know you know and you know they know that you know and they know you and you know them and maybe you go out for a pitcher later but who picks up the tab? That’s what I want to know.’
‘Right, and answers?’
‘Answers is what I get when I ask questions. Answers is when you got no choice. I ask, you tell. I ask again, you tell some more. Then I break your fingers, ’cause I don’t like what you’re telling me, because those answers don’t explain nothing!’
‘Ah! So you really want explanations!’
‘Not till you give me the answers!’
The bottom line is: if you enjoy fantasy novels at all, I highly highly recommend picking up the entire series. However tempting it might be to skip the first book based on my experiences, it would be a costly error – the characters introduced in the first book are integral in how the rest of the books play out. The first five books can technically stand on their own, but everything will be more meaningful if you know what the characters had to go through to get to that point.
Which, believe me, is a lot. I mean, Jesus, wait till you get to the Chain of Dogs. Or the Pannion Domin. Or what happens to your favorite characters in Darujhistan even though you can cynically see it coming from a mile away and yet you squirm and sweat and try to close your eyes but you can’t because you’re reading a goddamn book and the words were already written anyway and oh no, this can’t be happening… why do you do this to me Steven Erikson?! Why does your fiction both inspire and destroy my faith in all that is good and right in the world?
Ahem. Read these books.