Ah Razer and OUYA, two companies I once liked and respected who have both done something to draw my ire. For Razer it was their shameless price gouging tactics for Australian citizens, something which they continue to this day. OUYA simply smoldered its way through all the goodwill I had towards them, ultimately delivering an unfinished product late that has since lumbered along in a kind of zombie state. There had been rumours that OUYA had been courting Razer for a while now, hoping to find a buyer, but like all acquisition talks both sides were rather mum on the details. Today Razer has announced that they will acquire OUYA and use them to bolster their own efforts in this space.
The deal has said to be an “all cash” acquisition meaning that Razer has used its own cash reserves to pay off all of OUYA’s investors. This pegs the asking price at somewhere around the $33 million mark which sounds like a lot however Razer was just valued somewhere in the order of $1 billion meaning an acquisition of this size won’t put much of a strain on their purse strings. Still I and many others really didn’t see how OUYA could fit into Razer’s business model which, for the most part, is centered around gaming peripherals more than platforms. As it turns out Razer may be looking to OUYA to fix it’s Forge platform which, funnily enough, is encountering many of the same issues that OUYA struggled with.
As part of the acquisition deal Razer will take on the software branch of OUYA but will drop the hardware business. This makes sense since Razer is, in essence, already selling a competing platform but also because the OUYA in its current state is heavily outdated and unlikely to provide much value as another product line. The OUYA store will be integrated in Razer’s Cortex platform, along with the 200,000 user accounts and all the games currently published on the platform. The OUYA brand name will remain but will transition to focus more on becoming a publisher for the Cortex platform more than anything else. Overall it seems like a great outcome for OUYA but I’m not convinced that it’ll do much for Razer.
The Razer Forge’s launch was, to be blunt, a complete disaster as the console proved to be buggy and largely unusable on launch day. Sure the base functionality seemed to work fine however that’s not something that’s unique to the Razer Forge and indeed other products will provide that at a much more reasonable price. Things get worse when you compare it to, admittedly slightly more expensive options, like the NVIDIA shield which received universal praise for the quality of all aspects of the product. Whilst the OUYA team might be able to help fix these problems I feel like they’re already several steps behind the competition and throwing more bodies at the problem isn’t going to solve it.
It may be my dislike for both these companies speaking through but in all honesty the only people that won out in this deal where the investors who were likely staring down the barrels of a soon to be bankrupt company. The Android micro-console market just doesn’t have the legs that everyone hoped it would and the market is already saturated with dozens of other devices that do a multitude of other things than just play games. I will be very surprised if Razer manages to make their Forge TV anything more than it currently is, even with the supposed expertise of the OUYA team behind them.
Before the days of ubiquitous broadband many of us would have to wait until the monthly LAN event to get our fix of multiplayer gaming. Of course this was also the time when the vast majority of games didn’t include some form of multiplayer so the long time between drinks was easy enough to handle. However since then the inclusion of some form of multiplayer in many games has diluted experiences that used to be specifically crafted for that purpose. Indeed the most rare of rare kind of multiplayer game, the one where you and bunch of mates would crowd around a TV to play, have shrunk down into a very specific niche. However there are still titles that come out every once in a while that exemplify that multiplayer-first experience of years gone by and Rocket League is one of them.
Rocket League is the sequel to the 2008 game Supersonic Acrobatic Rocket-Powered Battle Cars which was met with a rather lukewarm reception upon its release. Being a PlayStation3 only game, one with niche appeal at best, it’s easy to see why. Rocket League takes the same basic idea, rocket powered cars playing soccer, and modernizes the idea slightly, packaging it up for today’s gaming market. The reception this time around has been far more welcoming but looking back through videos of game play from its predecessor it’s hard to see the differences that make Rocket League that much more appealing. Still the buzz was more than enough to convince me that it was worth a look in.
On first glance you’d be forgiven for thinking that Rocket League runs on something other than the Unreal 3 engine as it does manage to do a lot with so little. Psyonix, the developer of Rocket League and its predecessor, does have something of a history with the engine having co-developed Unreal Tournament 2004. That experience has definitely come in handy as Rocket League looks great and runs fabulously, admittedly on my incredibly over-speced PC. One thing I did note however is that it doesn’t look anywhere near as good on the PlayStation4 as it does on the PC, even when running at the same resolution. That’s just my anecdotal experience however and I’m sure it’d look great on a much larger screen (I run my PlayStation4 through a HDMI capture card to my main PC monitor)
At a basic level Rocket League is a simple game: get the ball into the opposing team’s goal. However instead of human players you’re driving around in what looks like an overgrown remote control car, one outfitted with a rocket boost system that allows you to reach incredible speeds and heights. You’ll start out by driving around on the ground, attempting to crash and bash your way through your opponents in order to score a goal. After a while though you’ll start to get a little trickier, flying through the air to intercept the ball and bringing it crashing back down to earth with incredible speed. Of course no multiplayer game is complete without a treasure trove of cosmetics behind it, allowing you to customize the look of your little racer however you see fit. For the ultra-competitive amongst us there’s ranked matchmaking and an inbuilt league system, allowing you to set up tournaments for your friends and foes alike. Taken as a whole it’s got the makings of a game with aspirations to be an eSports contender, although whether it will become one is up to the community at large.
All matches have a 5 minute timer on them meaning that, for the most part, a full game won’t take you much longer than that to complete. Of course if you or your opposing team is dominating you, and the entire team doesn’t skip the goal replays (which seems to happen all the time), it’ll take a lot longer than that as you watch every goal repeated for 30 seconds. Still it’s not the kind of game where you’ll start a game an hour before you have to do something and then find yourself running short on time. For the most part you’ll spend most of this fervently chasing the ball around the court, trying to pry it off your opponents and ramming everyone enthusiastically. You’ll get points (which are just used to determine who the MVP of the game is) for doing things like scoring and stopping goals which are a good way to encourage you to actually play properly rather than just playing like a ball obsessed puppy.
At the start the matches are chaotic and fun, with everyone racing around everywhere trying their best to wrangle their car to hit the ball in the right direction. However it didn’t take long for the matchmaking system to breakdown somewhat, often paring me with opponents who far exceeded my (and my team-mates’) own abilities. This is partially due to me being a little late to the party, coming into it almost 3 weeks after its initial release, however a good matchmaking system would ensure that, for any given match, we had a 50/50 chance of winning. So now, with the initial wave of players starting to dwindle, the people that are left behind are the ones who are more than a couple steps above rookies like myself. It’s a challenge that faces any multiplayer game that has aspirations of running for years past its original release date and unfortunately one that doesn’t have a great solution. Rocket League will still be a blast with friends, you can pick up the core mechanics in 10 minutes, but the online may end up being just as difficult to crack as other long term multiplayer games.
Whilst I didn’t get enough time on the PlayStation4 version to comment on how stable it is (although tales of PlayStation4s overheating while playing it don’t bode particularly well in my book) Rocket League on PC is stable during regular play. However I had numerous, inexplicable crashes to desktop that seemed to occur randomly during the game. Sometimes it was during the initial part of the game where I was revving my engine, others whilst a bunch of us crashed into each other. Looking through the Steam folder I can’t seem to locate any crash dumps or debug logs so I can’t comment as to what’s causing it but it’s definitely an issue that I’ve yet to see a resolution for.
Rocket League demonstrates that sequels can outshine their predecessors as it took an idea that was met with lukewarm reception and turned it into the game everyone is talking about. The core game play is fun and frantic, made even better when you throw a few friends into the mix. The online multiplayer works well for the most part however newcomers might be greeted by a wall of players who are far more skilled than they are. Still that doesn’t detract from the fact that playing this game with a bunch of mates is tons of fun, something that will keep it alive for many years to come.
Rocket League is available on PlayStation 4 and PC right now for $19.99 (currently free for PlayStationPlus subscribers). Game was played on both platforms with a combined playtime of approximately 3 hours with 31% of the achievements unlocked on the PC.
Time waster style games were once the bastion of Flash games hosted on sites like Newgrounds. Since the introduction of smartphones they’ve slowly transitioned themselves away from the web and instead found a comfortable home on everyone’s mobile device. Thus it seems kind of odd these days to play a time waster style game on the PC as they’re no longer the platform of choice for this genre. Still when deciding on whether or not I should get Hook on my mobile or my PC I opted for the latter, if only because I rarely find time to play games on my mobile these days. Interestingly though Hook seems simple enough that it can service both platforms without needing to make any concessions with either.
Hook has a very simple premise: you have to pull all the wires back without any of them colliding with each other. You do this by pushing a trigger that initiates the pulling and, if you done everything in the correct order, it’ll slide all the way back. Other than that there’s not a whole lot more to speak of and the base game comes with a grand total of 50 levels to make your way through. If you’re a power gamer this won’t take you much longer than an hour to accomplish although I’m sure if you got this on the mobile you could stretch out that play time over the course of weeks if you were so inclined.
Hook, like many other minimalistic puzzlers, has a very clean and simple aesthetic. I’m sure part of this was an artistic choice but later on it becomes obvious that the lack of distinction between visual elements is actually a key element of the game play. The background music is similarly simplistic, swelling and fading as you solve puzzles or make a mistake that triggers the level to refresh again. I’m sure some would like the option to change the colour palette but in all honesty I don’t think I’d bother.
As I described before the mechanics of Hook are pretty simple, pull all the wires back without any of them colliding with each other. The puzzles start out pretty simple, literally just clicking any of the buttons in any order will solve them, but after that new mechanics start getting dropped in every 10 puzzles or so to spice things up a bit. Most of these additional mechanics come in the form of ways to block off paths however there’s also a few that break the line, forcing you to retrace the paths again. It would be easy enough to brute force the puzzles however if you make one mistake (or 3 in the later ones) the puzzle refreshes, forcing you to restart from the beginning.
There’s a pretty simple algorithm you can use to beat every one of the puzzles contained within this game although executing it may be a little easier said than done. What you first need to do is find the line that can be moved first, usually one without anything blocking it. Then you need to block off all other paths so that only it gets moved. Then from there it’s simply an iterative process to eliminate the rest of them. Using this process I was easily able to breeze through all 50 puzzles in just over an hour, something that many other reviewers have been able to do. This is probably one of those games that could benefit immensely from a level editor and Steam Workshop integration as I’m sure the community would be able to come up with infinite puzzles that would be orders of magnitude more difficult than the default set.
Hook is a great little puzzler with an unique mechanic. The puzzles, whilst not especially challenging, are rewarding enough that I felt compelled to blast through them all in one sitting. It’s shortness is something of a detraction, especially considering that the addition of a level editor and a way to share user created levels would ensure a near endless supply of content. Still for the asking price I don’t think anyone will really mind the lack of content as $1 for 1 hour of entertainment is pretty good by anyone’s standards.
Hook is available on iOS, Android, Windows Phone and PC right now for $0.99 on all platforms. Game was played on the PC with a total of 1 hour playtime.
Even though I’ve been reviewing games for fun for the better part of 6 years now there are few series that I’ve been able to catalogue my experiences of completely. Many of the big AAA games have been going on since long before I started blogging and there are many new IPs since then that have failed to see further instalments. However one of the stand out series I’ve had the pleasure of reviewing has been the Batman: Arkham games which have set the standard to which many others are compared. The last title in this series, Arkham Knight, sees a return of Rocksteady Studios as the developer and with them the hopes that this game will bring a return to form for the IP. Indeed, at least for this review, that’s very much the case however you’d have to be living under a rock to not know about the turmoil that this title endure during its first weeks on the shelves.
Although his nemesis might be gone Batman has continued his work in Gotham City, becoming an ally of the GCPD rather than its adversary. In the year since the events of Arkham City Gotham has become a place of peace with crime rates tumbling and the populace feeling safe in their home town. However Batman’s continued spoiling of everyone’s nefarious plans has not gone unnoticed and they have all banded together with the one singular goal: to kill the batman. At the helm is Scarecrow who threatens the entire city and causes a mass evacuation, leaving the streets to be filled with criminals, looters and a sense of fear. It is up to you now, dear Batman, to rid Gotham of this disease once again but the journey may leave you losing much more than you’d ever had hoped to.
Arkham Knight is an absolutely stunning game with the graphics easily surpassing any of the previous titles in the series. This is made all the more impressive by the fact that it’s running on the Unreal 3 engine which, as of writing, was released almost 11 years ago. The trademark Gothic style is back once again with everything in Gotham having this certain retro-futuristic chic about it. Climbing to the top of any building is rewarded with a gorgeous landscape that’s just brimming with detail which only gets better upon closer inspection. There are some pretty great innovations in here too, like how rain falls on surfaces and slicks down or how the turbulent waters of Gotham’s harbours churn and crash against the walls. Going back and looking at my previous screenshots from other Batman titles Arkham Knight really is a generation ahead of its predecessors, an incredible feat considering the last title was released less than 2 years ago.
For those who’ve played any of the previous Arkham titles the core game play will be familiar, taking much the same approach as Arkham City did. You’re plopped down into a vast open world with numerous objectives, all of which are centred on one of the characters from the Batman franchise. You’re free to pick and choose from any of the objectives all of which will grant you upgrade points which you can spend to upgrade Batman’s skills, gadgets and combat moves. You will also be treated to the wonder that is the Batmobile, a nimble tank that’s got a staggering array of weaponry at its disposal, which you’ll need to make good use of if you’re to get anywhere in this game. The traditional beat ’em up combat remains intact with only a few new options added into the mix to differentiate it from its predecessors. In terms of scale it’s the biggest Batman game ever released, one that will keep even the most dedicated achievement hunter busy for a very long time.
The melee combat remains largely the same as it did in previous Arkham games with the addition of a few new gadgets and enemy types. If I’m honest it actually feels slightly weaker than previous titles as the new gadgets fail to make up for the lack of new combos or takedowns. Pulling off massive combos doesn’t seem to have the same spectacular pay off that it used which was a big driver, at least for me, to get better at landing them. There’s the inclusion of the fear takedown, which basically works as an opener to take out the most dangerous enemies first, which is cool but does take away a fair chunk of the skill required to take down massive groups of varied enemies. This, coupled with the lack of any big melee boss fights, means that whilst the essence of the combat is still there it just doesn’t have the same attraction it once did.
This is made up for entirely by the inclusion of the Batmobile, the single most fun thing that Rocksteady included in Arkham Knight. From the second you first get your hands on it the Batmobile is a cacophony of destruction, metallic car noises and oodles of weaponry that border on being ludicrously excessive. Driving around Gotham is just plain fun as you smash and crash your way through pretty much everything that gets in your way. The vehicle combat makes up for the less than stellar melee combat although after the 30th drone battle over a mine it does start to lose its lustre somewhat. However the integration of the Batmobile into almost every aspect of the game is done so well you start to wonder how they managed to build a Batman game without it. I’m not sure how canon this form of the Batmobile is however as it’s pretty much a killing machine on wheels, something which isn’t strictly in alignment with the Batman ethos. Not that that really matters, though.
The stealth sections are back again this time with even more ways for the enemies to locate you and ruin your Not Seen and Not Shot bonuses. The mechanics will be instantly familiar, finding vantage points and sneaking through grates, however for each new hazard you’re given a new way to deal with it. Much like the melee combat though it feels a little weaker than previous games, possibly because it is so similar or maybe because other elements (like the Batmobile) are just that much better. Suffice to say most of my stealth sections usually ended in me unceremoniously taking out everyone after they spotted me once and more than a few angered restarts because of that.
Due to the outrage over how unplayable Arkham Knight was I decided to hold off until the first patch was released and I’m glad I did. I experienced no performance issues at all with Arkham Knight being buttery smooth the entire time. It was not, however, a completely glitch free experience as there were numerous times where things didn’t work as expected. Chasing Firefly in the Batmobile would often result in it not being able to drive forward for some reason, requiring me to jump out and back in again (sometimes allowing him to escape). On more than one occasion the indicators that I should counter something during a cutscene simply didn’t pop up, leading to a few frustrating moments where I simply could not figure out how to get to the next section. However none of these issues are what I’d consider game breaking as I would not have invested so much time into Arkham Knight if it was as broken as everyone was making it out to be. As of writing Arkham Knight is still not for sale on Steam, something which I honestly don’t agree with after playing through it this past week.
The story serves as the conclusion to the Arkham series and, I’m glad to say, rounds out the various stories of all the main characters quite well. For those of us who’ve stuck with the Arkham series since Asylum it’s been quite a ride and to have it end so well, when so many games have done endings like this poorly, is a most welcome change. This does not mean that the Batman IP has run its course yet, indeed the upcoming Batgirl DLC is a testament to this, however the story ark of Batman and Joker is done and dusted. I’ll be interested to see if Rocksteady or another development studio will look to replicate the success of this series with other characters within the same franchise as, whilst I’m glad this chapter has come to a close, I’d very much like to explore more of this world from a different perspective.
Batman: Arkham Knight is a fitting finale to this venerable series, capturing everything that made the series great whilst amping it up to the next level with a solid story and, of course, the Batmobile. The combat and stealth retain the essence of what made the previous games great although fail to innovate much beyond that. The Batmobile makes up for this in spades, delivering gloriously dumb action as you tear through the streets of Gotham. The story finishes the major Batman and Joker arc beautifully, leaving you with a sense of closure whilst also wanting to see more of this world that Rocksteady has built up over the past 5 years. Even if you haven’t been following the series since day dot you won’t be disappointed in the experience that Batman: Arkham Knight brings as it is truly a stellar game, even in its own right.
Batman: Arkham Knight is available on PC, XboxOne and PlayStation4 right now for $59.99, $99.95 and $99.95 respectively. Game was played on the PC with a total of 16 hours playtime and 42% of the achievements unlocked.
With game creation now within the reach of anyone who has the time to dedicate to it the differentiators usually stem from the strengths of their creators. Many come from a writing background, pouring themselves into the creation of a brilliant narrative that flows through the game. Others develop wild and intriguing mechanics, some that allow the players to develop their own story within a world they create. Few however find their strength in the art and graphical fidelity as out of all the things that make a game it is by far the most costly and time consuming to create. Homesick is one of those rare few indie games that brings with it astonishing visual quality that even rivals recent AAA titles.
You wake to a world that’s cold and unfamiliar. The world is barren, bereft of nearly all life and seemingly cold despite the sun’s unrelenting rays punching down through every crack and crevice. As you explore though you see remnants of the world that once was, little reminders that show people were here…once. However you struggle to make sense of the world, the books and letters are all written in code and try as you might there’s little sense to be made of them. You know one thing though, you must get out. You must find your way into the light.
I would forgive people for thinking that Homesick was simply a demo project for a new engine as it’s honestly by far the best looking indie game I’ve ever seen. The attention to details is astounding from things like the rooms with wallpaper peeling off to the fully working (but out of tune) piano. Looking at Barrett Meeker’s (the creative director) history in animation and effects it’s not hard to see why as he’s worked on such titles like Scott Pilgrim vs. the World. If I hadn’t taken these screenshots myself I would’ve written them off as carefully crafted renders but the game really does look this good when you’re playing it. Of course there were some sacrifices made for this beauty, namely the extremely simplistic animations and accompanying sound effects, but it’s hard to deny that the graphics are anything but amazing.
Homesick is your (now) bog standard walking simulator where you’ll move forward at a relatively slow pace that encourages you to take in your surroundings, look at everything and essentially be a tourist in the game’s world. Each room has a set of puzzles that you’ll need to figure out in order to progress and, interestingly, they all share the same end goal. However that doesn’t detract from the challenge at all as figuring out how to accomplish said goal can sometimes involve a myriad of steps, not all of which will be obvious at first glance. Once you finish a section it’s off to the dream world which will allow you to progress to the next section.
The Kickstarter for Homesick described the puzzles as “hard, yet fair and sensible” and for the most part that rings true. The game provides absolutely not tutorial to speak of so for the first 10 minutes or so you’re on your own to figure out how everything fits together in this world. Thankfully whilst all the rooms are interconnected they’re not dependent on each other, meaning that each new puzzle is self contained and does not require any backtracking. There is a couple times where you can miss an important clue which will get you stuck (hint: make sure you look at all the filing cabinets carefully) but other than that you should be able to work things out eventually. My favourite by far was the blocks puzzle but I won’t say much more lest I spoil the fun.
Whilst the game is extremely pretty it does suffer from a few areas that could’ve used a little bit more polish. For some reason there are certain places where I’d get a lot of slowdown, usually when turning past a corner in some of the first rooms. There’s a couple other places where this happens too which leads me to believe there’s some unoptimized geometry hiding somewhere. There’s also a couple glitches that require a game restart to overcome, like an issue (which was said to be fixed but still happened for me) where holding a certain item would overwrite your entire inventory. Thankfully I didn’t lose too much progress but it was still a frustrating experience.
The story of Homesick is what you make of it as for the vast majority of the game you really have no clue about anything. Once you unlock the ability to decipher the riddles you can go back through the entire game and read everything which does give you a good sense of the world before your time in it. With games like these, ones where much of the story is locked behind globs of text hidden everywhere, I find it hard to get emotionally invested in the story and Homesick was no exception. I do admit that when I started to slowly unravel the code of the world I was a little excited but that wasn’t enough to drive me to slowly walk back through everything just so I could read some things.
Homesick is a stunner of a game with graphics that will remain unchallenged by the indie scene for a long time. Once you dig beneath the surface though what remains is your typical walking simulator game, with all the requisite puzzles and hidden pieces of text to flesh out the world. Whilst it’s worth playing for the graphics alone I really can’t say that there was much more that drew me in, mostly due to my resistance to reading large walls of text after I’ve slowly trotted my way through everything. Still I’m sure fans of this genre will find a lot to love and would not hesitate to recommend it to all the indie fans out there.
Homesick is available on PC right now $14.99. Total play time was approximately 2 hours.
PC ports of mobile games have mostly been of low quality. Whilst many of the games make use of a base engine that’s portable between platforms often those who are doing the porting are the ones who developed the original game and the paradigms they learnt developing for a mobile platform don’t translate across. There are exceptions to this, of course, however it’s been the main reason why I’ve steered clear of many ported titles. The Silent Age however has received wide and varied praise, even after it recently made the transition to the PC and so my interest was piqued. Whilst the game might not be winning any awards in the graphics or game play department it did manage to provide one of the better story experiences I’ve had with games of this nature.
You’re Joe, the lowly janitor of the giant research and development corporation Archon. For the most part your life is pretty mundane except for the wild and wonderful things that your partner in crime, fellow janitor Frank, tells you about. One day however you’re called up to management and, lucky for you, it’s good news! You’re getting promoted, taking over all of Frank’s responsibilities because you’ve shown such dedication to your job (with no pay increase, of course, you understand). When you go down to inspect the place where you’ll be doing your new duties however you notice something strange, a trail of blood leading into one of the restricted areas. Following that trail starts you on a long journey that will eventually end with you saving the world.
The Silent Age comes to us care of the Unity platform however you’d be forgiven for thinking that it was an old school flash game that had been revamped for the mobile and PC platforms. It shares a similar aesthetic to many of the games from the era when Flash reigned supreme with simple colours, soft gradients and very simple animations. On a mobile screen I’m sure it looks plenty good although on my 24″ monitors the simple style does lose a little bit of its lustre. Still it’s not a bad looking game by any stretch of the imagination but you can tell which platform it was designed for primarily.
Mechanically The Silent Age plays just like any other indie adventure game with your usual cavalcade of puzzles that consist of wildly clicking on everything and trying every item in your inventory to see if something works. The puzzles are really just short breaks between the longer dialogue sections which, interestingly enough, are all fully voiced. There’s a small extra dimension added by the time travel device, allowing you to travel to the past or future at will, but it’s nothing like the mind bending time manipulation made famous by some other indie titles. Other than that there’s really not much more to The Silent Age something which I ended up appreciating as it meant there wasn’t a bunch of other mechanics thrown in needlessly. It’s pretty much the most basic form of an adventure game I’ve played in a while and that simplicity was incredibly refreshing.
The puzzles are pretty logical with all of them having pretty obvious solutions. There’s no real difficulty curve to speak of as pretty much all of them felt about on par with each other, although there were a few puzzles that managed to stump me completely. Usually this was a result of me missing something or not recognizing a particular visual clue (a good example being the pile of wood in the tunnel under the hospital, it just looked like background to me) so that’s not something I’d fault the developer for. Some of the puzzles were a little ludicrous, requiring a little knowledge about how some things could potentially interact, but at least most of them wouldn’t take more than ten minutes or so of blind clicking to get past. Overall it wasn’t exactly a challenging experience which I felt was by design.
The PC port was a smooth one as pretty much everything in the game worked as expected. The 2D nature helps a lot in this regard as there’s a pretty good translation between tapping on the screen and using a mouse cursor but I’ve seen lesser developers even manage to ruin that. There was one particular problem which caught me out several times however which was that my mouse, if it strayed outside the bounds of the main window, would not be captured. So every so often I’d end up clicking on my web browser or whatever else I had open on my second monitor at the time, closing the game down. A minor complaint, to be sure, but one that’s easily fixed.
The story of The Silent Age is one of the better examples I’ve come across recently, especially for a mobile title. Whilst it’s not exactly the most gripping or emotionally charged story I’ve played of late it does a good job of setting everything up and staying true to itself internally. Of course whenever you introduce time travel into a story things start to get a little weird depending on what model of causality and paradox resolution you ascribe to and The Silent Age is no exception to this. However they manage to stay true to the rules they set up which is more than most high budget films are capable of. Overall I’d say it was satisfying even if it wasn’t the most engaging story.
The Silent Age is a succinct story told through the medium of video games, one that manages to avoid many of the pitfalls that have befallen its fellow mobile to PC port brethren. The art style is simple and clean, reminiscent of Flash games of ages gone by. The puzzle mechanics are straightforward, ensuring that no one will be stuck for hours trying every single item in their inventory to progress to the next level. The story, whilst above average for its peers, lacks a few key elements that would elevate it to a gripping, must-play tale. Overall The Silent Age was a solid experience, even if it wasn’t ground breaking.
The Silent Age is available on PC, Android and iOS right now for $9.99, $6.50 and $6.50 respectively. Game was played on the PC with approximately 2 hours of total play time and 71% of the achievements unlocked.
For as long as I’ve been writing this blog E3 hasn’t been much more than a distraction when it rolls around. Indeed in the 7 years I’ve been writing about games I’ve only ever covered it twice and usually only in passing, picking out a couple things that piqued my interest at the time. The reasons behind this would be obvious to any gamer as E3 has been largely irrelevant to the gaming community since about 2007 with most of the big announcements coming out of other conventions like PAX. However this year something seemed to change as the both the gaming industry and community seemed to rally behind this years expo, making it one of the most talked about to date.
The reason behind E3’s quick fall into obscurity was fuelled by the extremely questionable decision back in 2007 to close off the event to the general public and instead only allow games industry representatives and journalists. The first year after this was done saw the attendance drop to a mere 10,000 (down from 60,000 the year previous) and the following year saw it drop by half again. The other conventions that popped up in E3’s absence soaked up all these attendees and, by consequence, all of the attention of the games industry and press. Thus E3 spent the last 5 years attempting to rebuild its relevance but struggled to find a foothold with such stiff competition.
This year however has proven to be E3’s one of its greatest on record with attendance above 50,000 for the first time since they made that awful decision all those years ago. This rise in attendance has also come hand in hand with a much greater industry presence, boasting a much greater presence from major game developers and publishers. There were also numerous major announcements from pretty much all of the large players in the console and PC markets, something we really hadn’t seen at a single event for some time. For someone who’s been extremely jaded about E3 for so long it honestly took me by surprise just how relevant E3 had become and what that might mean for the conference’s future.
The challenge that E3 now faces is building on the momentum that they’ve created this year in order to re-cement their position as top dog of the games conferences. In it absence many of the larger players in the games industry opted to either patronize other conferences or set up their own, many of which have now gone on to be quite profitable events (like BlizzCon, for example). E3 will likely never be able to replace them however given the resounding success of this year’s conference there is potential for them to start drawing business away from some of the other conferences.
In the end though more competition in this space will hopefully lead to better things for the wider gaming community. It will be interesting to see if E3 can repeat their success next year and what the other conventions will be doing in response.
Many games have sought to catch some of Telltale’s success by emulating their trademark brand of story-first games. For the most part this comes in the form of copying the core mechanics, usually with regards to the dialogue choices and the quick time based action sequences. Few however have attempted to emulate the cel-shaded comic book style as most of them have their own art direction that they want to pursue. D4: Dark Dreams Don’t Die appears to be an almost blow for blow recreation of the Telltale style, down to the art direction, however the similarities really are only skin deep. Whilst I admit I decided to play this to lambaste it for its almost shameless imitation the actual experience was something I didn’t expect, a rare occurrence for this humble writer.
You are David Young, former detective with the Boston Police Department and recent widower to his beloved wife; Little Peggy. The tragic incident that took his wife away left him with an amazing gift, the ability to travel back in time to see the past as it happened. He can’t do this at will though, only through the use of objects that hold some significance to the past, but those mementos are what he needs to achieve his real goal: to find “D”. Before she died Little Peggy told David to look for D and so David left the BPD to pursue this elusive character in the hopes he can unravel the mysteries behind her murder.
As I alluded to earlier D4 emulates the Telltale style of games by using cel-shading to make everything look like a cartoon. Like most games that make use of this stylization it works well for the most part however every so often the 3D world just doesn’t interact well with with it, leading to some rather weird moments. Probably the biggest stand out of this is the incessant bubble gum blowing that the main character does which just looks silly, especially when his lips don’t move the whole time he does it. It also doesn’t look too great up close, something which becomes painfully apparent when the game zooms up on a character’s face for whatever reason. Overall though the visual quality feels above average, even if I include the venerable Telltale games in the mix.
Like nearly all games of a similar style D4 is an adventure/puzzler, putting you in various cordoned off rooms with dozens of objects to interact with to solve the current objective in order to progress to the next section. It may not seem like a lot at first however once you get to the end, which displays your completion level, it becomes clear that there really is quite a lot hiding in every room of D4. These additional objects are usually things that will flesh out the backstory of the various characters in D4 whilst some will unlock non-gameplay impacting collectibles like new clothes for the characters. There’s also a quick time event based combat system which gets engaged during high tension moments, something which most gamers lament but actually felt relatively well implemented. Finally there’s skerricks of a RPG style progression system in the game in the form of stamina (used when you interact with objects), life (lost when you fail a quicktime event) and vision (used to identify things you should interact with) all of which can be improved with the right clothing or finding a certain collectible. This all adds up to a game which, if you so wish it, has quite a lot of replayability about it or can simply be played from start to finish for the story without a care for the rest of it.
The puzzles are pretty straight forward since there’s no inventory to speak of, meaning that they can all be solved by simply clicking on enough things and stumbling through the right dialogue options. If you’re paying attention you can skip quite a lot of the fluff however doing so can rob you of important pieces of backstory that help to flesh out your character’s motivations and those of others around him. For the most part though if you take the typical “click on all the things” approach that most of these kinds of games encourage then you’re likely to stumble across all the pertinent plot points without too much worry. Even if you miss them you can go back and replay the episode again which won’t take long if you know exactly which buttons to press.
Mechanically D4 plays well for the most part however the quick time detection seems a little off at some points as the achieved “sync rate” can be a little random. I’ve had times when I completely fumbled it and got 100% whilst other times I’ve done it perfectly (or so I thought) and gotten 50%. This mostly happened on the diagonal ones so I figure there’s something a little wrong in the detection algorithm for that particular quick time event. There’s also almost no way to tell how to “stay in character” with the dialogue options in order to get 100% sync as most of them seem in line with what David would say, just some are more or less dickish than others. There might be some kind of hint or mechanic that I didn’t fully understand that makes this a lot clearer but unfortunately for me I just didn’t figure it out.
D4’s story starts out incredibly weak as it has a really confusing blend of elements (supernatural powers, a detective with amnesia, a person who acts like a cat for some inexplicable reason) that don’t seem to gel well together. However over the course of the first 2 episodes that come with the initial game most of them start to make sense and the story really starts to pick up as you uncover more clues to the events that happened prior to the game. Like most episodic games it feels unfair to judge the game based on just a fraction of the whole story but D4 at least has one of the stronger foundations on which to build upon so it will be interesting to see where the developers take it from here.
It would be so easy to write off D4: Dark Dreams Don’t Die as a simple Telltale clone however the game comes into its own over the course of the first two episodes. Sure it may not be the graphical marvel that many other games might be, nor is its quick time event system completely satisfactory, but it does provide a rather enjoyable experience. Whilst the director doesn’t know how many episodes the story might have suffice to say there’s easily enough build up for at least a full season and hopefully those episodes are forthcoming sooner rather than later. If you’re a fan of the Telltale style of games then you won’t be disappointed with D4: Dark Dreams Don’t Die.
D4 : Dark Dreams Don’t Die is available on PC and XboxOne right now for $14.99 and $19.95 respectively. Game was played on the PC with a total playtime of 3 hours with 42% of the achievements unlocked.
If you’re looking to watch people play games live there’s really only one place to look: Twitch. It started out its life as the bastard stepchild of Justin.tv, a streaming platform for all things, however it quickly outgrew its parent and at the start of last year the company dumped the original product and dedicated itself wholly to Twitch. Various other streaming apps have popped up in its place since then but none have been able to hold a candle to Twitch’s dominant position in the game streaming market. The one platform that could however has just announced YouTube Gaming which has the potential to be the first real competitor to Twitch in a very long time.
Whilst the product isn’t generally available yet, slated to come out sometime soon, it has already made its way into the hands of many journalists who’ve taken it for a spin. The general sentiment seems to be that YouTube has essentially copied the fundamental aspects of Twitch’s streaming service, mostly in regard to the layout and features, whilst adding in a couple of additional things which serve as bait to attract both streamers and consumers to the platform. Probably the most interesting aspects of YouTube’s platform are the things that are missing from it, namely the subscription payment system, alongside the dreaded ContentID system which will be in full force on all streams.
The main thing that will draw people to YouTube’s streaming service however is most likely the huge infrastructure that YouTube is able to draw on. YouTube has already demonstrated that it can handle the enormous amounts of traffic that live streaming can generate as they currently hold the world record for most number of streams at 8 million for the Felix Baumgartner jump back in 2012. Twitch, despite its popularity, has experienced numerous growing pains when it has attempted to scale up its infrastructure outside of the US and many have pined for a much better service. YouTube, with the Google backbone at its disposal, has the potential to deliver that however I’m not sure if that will be enough to grab a significant share of this market.
Twitch has, for better or for worse, developed a kind of culture around streaming games and has thus set a lot of expectations for what they’d want in a competing streaming product. YouTube Gaming gets most of the way there with the current incarnation of the product however the absence of a few things, like an IRC backend for chat and the paid subscriptions, could end up being the killer features that keep people away from their platform. The former is easy enough to fix, either by adopting IRC directly or simply providing better tools for managing the chat stream, however the latter isn’t likely to change anytime soon. Sure, YouTube has their one off payment system but that runs against the current community norms and thus will likely not see as much use. That then feeds into a monetization problem for streamers which is likely to deter many from adopting the platform.
All that being said however it’s good to see some competition coming to this space as it should hopefully mean more fierce innovation from both parties as they vie for more marketshare. YouTube Gaming has a massive uphill battle ahead of it if however if anyone has the capability to fight Twitch on their own ground it’s them. The next 6 months will be telling as it will show just how many are willing to convert away from the Twitch platform and whether or not it will become a sustainable product for YouTube long term.
4 years; that’s how long it’s been since the last instalment in The Witcher series. Back then I felt The Witcher 2: Assassin of Kings was a serviceable RPG though the various issues that plagued it, along with the rather mediocre story, meant it wasn’t exactly game of the year material. However that assessment was way out of line with the general public’s who lavished it with praise. It should come as no surprise then that it’s sequel received the hype it did with a dedicated fan base that was hungry for the next instalment in this franchise. Try as I did to avoid the hype the perfect review scores and relentless enthusiast press meant I knew what the community was thinking long before I first delved into The Witcher 3 and, whilst I’ll reserve my position for later in the review, I believe much of the praise is well founded.
The Witcher 3 takes place immediately after the events of The Witcher 2, with Geralt free of those who’d seek to use him for their own purposes and set off to return a life that he is in charge of. Geralt has spent the majority of his time pursuing his long lost love Yennefer, chasing stories and tales of her appearance throughout Velen and beyond. All the while he’s plagued with dreams of his adopted daughter, Ciri, being snatched away by The Wild Hunt, a troubling vision that means she’s in danger. His instincts prove correct as not long after his first contact with the Nilfgaardian the Emperor sends for him and tasks Geralt to find his daughter. Whilst this comes with the reunion of Yennefer it’s short lived as they split up to follow the leads that the Emperor has found for them. It is then up to you, dear Witcher, to scour the land for any trace of Ciri and to protect her from The Wild Hunt.
As of writing there is simply no other game that can compare to The Witcher 3 in terms of graphical fidelity. I cannot tell you how many times I found myself taking a moment to soak in the scenery, marvelling at the incredible level of detail in all aspects of the The Witcher 3’s graphics. It would be one thing for it to simply be a beautiful world, ala the original Crisis games, but it’s so much more than that. The trees sway softly in a light breeze, storms can brew and then rage on with unrelenting force and fields can be blanketed in mist in the early morning as the peasants go to work in them. The world genuinely feels alive, more so than any other game I’ve played. The Witcher 3 has now set the bar to which all future games like this will be compared as it has handily swiped the crown away from Crisis as the most beautiful game to play on PC. Of course to enjoy all that splendour you’ll need to have the requisite hardware but, in all honesty, the rewards for having it are worth every dollar spent.
The sheer scale of The Witcher 3 is something that simply cannot be understated. When the creators, CD Projekt Red, said that it was 30 times the size of The Witcher 2 they weren’t kidding as the size of the maps is staggering. It’s one thing to create a huge world though and another to fill it with things that make it worthwhile to explore it, something which the developers have most assuredly recognised. So whilst the mainstay of The Witcher 3 might be the same 2 sword and sign combat that its predecessors championed there’s countless other things that are peppered throughout the world to keep you interested. The crafting system makes its return and includes scavenger hunt quests that grant you some of the most amazing gear in the game. Many of the various mini-games that were in previous Witcher titles make a return, alongside a new card game called Gwent that proves to be a great distraction (and potential source of income). The talent system is revamped and simplified, allowing you to craft Geralt’s abilities how you see fit. Underlying all this is the numerous storyline quests, side quests and Witcher Contracts that you can try your hand at to get better items, more gold or just for the fun of exploring the world. Combining this all together results in a game that can take well over 100 hours to fully explore and appreciate, something that’s sure to delight Witcher and RPG fans alike.
Whilst the introduction to The Witcher’s combat system is improved significantly over the original non-tutorial that its predecessor had there’s still something of a learning and power curve to overcome before the combat becomes engaging. The combat system is somewhere between the Souls’ series of telegraphing/dodging and the usual action RPG hack and slash fest. In the beginning it was, to be blunt, incredibly frustrating however once you start to treat it like a Souls game you begin to figure out their move set, the telegraph that leads to a certain move and what you can do to dodge it. The fight that sealed this for me was the first werewolf fight which, if you don’t figure out how to dodge properly, becomes an exercise in frustration as he whittles your health down as his regenerates. After that point however most enemies were either a complete cakewalk, like any humanoid with a sword, or simply a matter of time and me whittling them down. You’d think that’d mean the challenge was gone past a certain point, and to some extent it was, however it was more that I had a bigger arsenal of tools at my disposal to recover from any mistakes.
To put this in perspective I was primarily a combat Witcher, favouring the fast strikes over anything else. As you can see my build was tailored towards that pretty specifically with only a handful of points in the signs to beef up Axii (for the dialog options) and Quen (as that’s the only way to regenerate in health in combat bar consumables). Whilst at the beginning this build felt somewhat underpowered, likely owing to the balance of points I spent in 2 trees, it didn’t take long for it to really come into its own. There’s a great deal of min/maxing going on here too, like the Cat School Training which doubles your DPS if you’re wearing all light armour (which I did) and the various talents to boost up the benefits gained by adrenalin points. Probably the one skill that made the most change to how the game played out for me was the whirlwind ability which, if the first strike landed, enabled me to relentlessly wail on whomever I felt like, often shredding their health in a fraction of the time it’d take otherwise. As an added bonus it meant that I never got swarmed again as the whirlwind ability is able to strike any enemy before they get to you. Had I done similar min/maxing with the other talent trees I’m sure I could’ve come up with similarly broken builds although I’m not sure any of them would be as fun.
The Witcher 3’s crafting system is as deep and rewarding as any others I’ve encountered although some of the issues that plagued it’s predecessor’s remain. You’ll find crafting materials everywhere, from the numerous fields and forests that are littered with herbs and fruits to the dozens of crafting components that drop from the monsters that you’ll slay. Whilst you can happily go along picking up basically everything in your path for a long time before inventory management becomes an issue once you hit that barrier you’re going to be forever wondering if you should vendor an item, break it down for materials or simply drop it on the ground and forget about it. Once you make your way into Novigrad you can (mostly) solve this problem by purchasing yourself a set of what I assume is the largest saddlebags in the game, giving you another 100 weight to mess with, although if you’re a confessed RPG kleptomaniac like most of us are that will just delay the inevitable. If you’re so inclined the modding scene has already come up with a solution to this issue if you’d rather not have to worry about it.
However if you stick with the crafting system the rewards you get are most often far better than any other gear you’ll be able to obtain either through killing monsters or buying from vendors. The scavenger hunts, which start when you find the first schematic for one of the Witcher school’s armour (you start off with the Wolf School set, but there are 3 others available) and each are tailored to a specific playstyle. If you, like me, favour quick strikes and massive stamina regeneration then the Cat School set is for you. The Bear School is for those that like to take enemies head on and soak up insane amounts of damage. The Griffon school is the in-between set, catering for a more balanced playstyle. These sets have several versions with the improved ones requiring the previous set to continue crafting them which means the final pay off is quite an investment in both time and materials. It is completely worth doing however as each upgrade of gear means you’re fully equipped to tackle all the challenges that the next few levels will bring and you never have to worry about where the next upgrade will come from.
The various mini-games are much better done this time around, being much more optional than their predecessors in previous Witcher games were. You can try your hand at a bare fisted fighting tournament that will take you through all the areas with an ultimate fight against the current world champion. You can try your hand at Gwent with nearly every vendor you encounter and, should you best them, you can take one of their cards away from them. If you’re so inclined there’s also a sort of tournament you can play with Gwent although where that leads I couldn’t tell you. There’s also a few other strange mini-games like the contract price negotiation thing, where you barter with a NPC over the cost of the contract they want you to undertake, but that’s mostly just an exercise in finding out what the maximum price has been set before you piss them off too badly. I was very thankful that these mini games took a back seat in The Witcher 3 as they felt like an inescapable tedium in the previous instalment, something which didn’t do much to endear me to it.
The sheer depth and breadth of all the quests within The Witcher 3 is staggering. Quite often you’ll be riding to your next objective only to come across someone with an exclamation mark over their head and it’s impossible to tell if you’ll be done with them in 10 minutes or 2 hours. You can still do the “get all the quests!” thing that most RPGs allow you to do, stuffing your quest log with dozens of quests that you can complete at your leisure, however they all have their own level at which they should be done. Even if you’re like me and favour doing the campaign missions above anything else you’ll likely find yourself quickly out levelling most quests which, on the one hand, makes them a lot easier but also takes away a lot of the incentive to do them. However there are a certain number of them that you’ll want to go and do regardless of how far below you they are as they’ll shape the world in which you’re playing. Whilst there are only a couple options which influence the ultimate ending should you be passive in the world there are many things that might not go as you wish, sometimes stopping you from doing something you may have wanted to do.
There’s also numerous encounters, caves, dungeons and other things that you’ll find on your travels throughout the world of The Witcher 3. In the beginning it’s probably advisable to stick to the roads as it’s hard to predict what level the monsters will be, however after a while it’s far more rewarding to take the straightest route to where you’re going. This is because you’re far more likely to come across a hidden stash, guarded treasure or the beginning of a quest line that could ultimately lead to something awesome when you’re traversing the country. After a while these things become somewhat secondary as the rewards start to taper off as you approach the later levels however it can still be pretty fun to stumble across a monster infested cave that triggers a quest in the nearby village from time to time, just to break up the monotony of following a single quest for so long.
The original release of The Witcher 3 was, to be brutally honest, was a total mess of bugs, glitches and crashes that would make you think Bethesda was the developer. Adding the Steam overlay to the GoG version of the game caused the text to glitch out profusely and would often result in the graphics driver crashing and recovering, leaving the game running but without any video output. This comes hand in hand with numerous performance issues which no amount of twiddling with the graphics settings seemed to fix. It was only after I trudged through numerous forums, Reddit threads and useless advice posts (telling me to update my drivers is not helpful, guys) I found out that most issues stemmed from things like the GeForce Experience program or the NVIDIA Streaming Service and HD Audio device. After disabling numerous things I finally got The Witcher 3 to a state that I could consider stable and thankfully it also resolved many of the performance issues that came with it. There were still however some rather irritating glitches that persisted which just added to my frustration at times.
Some good examples of these glitches were things like Geralt jumping incessantly with nothing that could be done to stop him. I tried pretty much everything I could think of from getting into combat, triggering dialogue to getting on my horse but nothing could stop his jumping. Similarly every so often my stamina bar would simply stay at zero, refusing to refill even after I had reloaded the game or another save. That particular bug usually meant I had to backtrack through saves to a point before the issue happened and then replay that entire section again, something which could result in an hour or so’s worth of lost effort. There were also numerous times where the hit detection got super squirrelly, with enemies able to hit me even though their models where no where near me at the time. Many of these issues seem to have died down in the most recent patch that was released last week however that doesn’t detract from the fact that numerous glitches still persist or that they were still present upon release.
The story of The Witcher 3 gets my vote for most improved out of any series that I’ve played of late. Whilst The Witcher 2’s story felt serviceable, being above average in many regards, The Witcher 3 has had a great deal of effort put behind crafting a narrative that can evolve with the player’s choices whilst still being coherent with a clear direction in mind. Whilst the time between The Witcher 3 and its most recent predecessor likely means that the nuances of the previous story are a jumble to most of us each of the characters is given enough time to flesh out their backstory, their history with Geralt and where that might lead you in the future. Many of the ancillary characters from the previous instalment make a return and, for the most part, they’re not just a token gesture with many of them having deep quest chains that quite often have an impact on the world around you. Suffice to say that, at a base level, The Witcher 3 presents one of the most deep and engrossing narratives to cross our path in a long time.
ENDING SPOILERS BELOW
I managed to get the good ending where Ciri becomes a Witcher and whilst many sites point to the White Orchard ending as the “ideal” one I honestly couldn’t disagree more. Throughout the game Ciri makes no mention of wanting to take over as Emperor of the Nilfgaard and from the short I’ve seen of the ending it doesn’t appear like she’s all too happy with the situation, despite what she says. Apart from that however I was incredibly pleased with how everything wrapped up in the end as the side quests I had done and the decisions I made resulted in the outcomes that I had desired. There were one or two which I didn’t really remember which quest it wast that would’ve led to the outcome I got but that’s more of a testament to the breadth of The Witcher 3 more than anything else. Suffice to say whilst CD Projekt Red might say that this is the end of Geralt’s story I don’t believe they’re done with the world that The Witcher resides in at all as there’s still plenty of stories that they could follow.
The Witcher 3 sets a new standard for RPGs, open world games and graphical marvels. The absolutely staggering breadth and depth of the world that The Witcher 3 is set in means that there’s just so much to keep you occupied that you’re never wanting for things to do. The combat system, whilst retaining its steep learning curve, becomes incredibly rewarding as you level up and learn all the tricks of the trade. The crafting system is highly rewarding. giving you a reason to explore some of the vast reaches of the earth in search of better patterns and materials to bolster Geralt to the highest levels of power. The story is a huge improvement over its predecessor, giving each character enough screen time to really build out their back story, motivations and place within the massive world. My experience was marred somewhat by the initial teething issues that the release faced but it’s a testament to the game’s underlying quality that I continued on for as long as I did. The Witcher 3 will be the game to which I compare so many others for a long time to come and, whilst I will shy away from giving it the perfect score that so many have lavished upon it, I cannot deny just how great a game it is.
The Witcher 3 is available on PC, PlayStation4 and XboxOne right now for $53.99, $109.95 and $109.5 respectively. Game was played on the PC with 45 hours of total play time with 46% of the achievements unlocked.