My phone is a pretty boring place, filled with productivity applications that are more focused on work than pleasure. It wasn’t always this way, indeed I used to find all sorts of weird and wonderful titles to play on my phone mostly because I had the time to play through them during the hours I’d spend in transit to work every day. However I simply haven’t had that time to myself any more and so the world of mobile games has passed me by, with likely many good titles falling by the wayside. Today I finally make the return back to the platform and if there are many more titles like Monument Valley I believe I’ll need to make an effort to stay.
You are Ida, princess of a realm long forgotten. The world you inhabit is beautiful but barren, bereft of almost any signs of life yet filled with the signs that many have been here before you. Somehow though you can’t help but feel responsible for this and the quest for forgiveness is what keeps pressing you forward. So many questions lay before you, who built this place, where are they now and what led to their apparent downfall?
Monument Valley is a fantastic example of minilmalism, combining solid colours, soft gradients and simple lighting effects to great effect. Every puzzle screen has its own unique style to it which means that the game never gets visually boring or confusing. This is complimented by the use of Escher-esque style drawings with impossible structures and non-Euclidean geometry which, whilst also being amazing samples of this style of work, also function as the game’s main puzzle mechanic. Overall Monument Valley makes a great visual impression, one I’m sure many other games will draw inspiration from.
The core game play of Monument Valley is in the style of other non-Euclidean based games like Anitchamber or The Bridge (although it’s much closer to the latter) where you’re required to figure out how the rules of the geometry in your world work. The things start off relatively simple, only requiring you figure out that your perspective is the key, however you’re quickly thrown into the deep end where the world never behaves as you’d initially expect it to. The puzzles are very well laid out however as you’ll often be introduced to the prime mechanic in its most simple form at the start of the puzzle before you’re introduced to a use case that will require some lateral thinking on your part. There’s also a lot of visual red herrings to ensure that the puzzles aren’t too obvious but they’re uncommon enough as to not be overly frustrating.
This all culminates in a game that’s an absolute joy to play. The beautiful visual elements combined with the inherently non-intuitive puzzle elements just gave me this feeling of exuberance that few games have. There were so many times I’d be stuck on a puzzle for a few minutes before figuring out the solution which would give me a grin that wouldn’t go away for a long time. Probably by far my favourite puzzle out of the lot was the box as the way it was designed evoked this child like excitement in me every time I opened it in a different way. It speaks volumes to the developer’s ability to create an experience that is as fun as what they’ve created.
Monument Valley does suffer from a few usability issues, at least on my Xperia Z. A lot of the touch controls felt like they were either far too sensitive, making me spin the puzzle pieces wildly with little input, or not sensitive enough, leaving me to think that certain pieces couldn’t be moved. I’m willing to admit that this might be a hardware issue rather than something wrong with the game itself however it did make some sections more frustrating than they needed to be. Since I’m on Android though your mileage may vary as I’m sure some more mainstream handsets will function better than my now aging Sony.
The story elements are pretty light on in Monument Valley, told only in the snippets before each puzzle and when you find the old lady hiding wherever she is, but it’s enough to elevate the game above other pure puzzlers. Given Monument Valley’s rather short length it’d be unfair for the story to develop much more than it did but I definitely feel there’s potential for this world to be expanded upon more, possibly with additional puzzles. Needless to say I’d love to see Monument Valley get the full release treatment as I believe the concept still has a lot of legs in it.
Monument Valley is a testament to what the mobile platform is capable of creating, combining gorgeous minimalistic graphics with great game mechanics to create an experience that’s up there with many high budget titles. Whilst it falls short in a couple categories, namely it’s overall play time and so-so controls, it makes up for it in spades in almost every other regard. It’s not a game I’d recommend for everyone, indeed any minimalist title is exclusionary by nature, however for lovers of good puzzle games you really can’t go past Monument Valley.
Monument Valley is available on Android and iOS right now for $4.99 and $4.99 respectively. Game was played on a Sony Xperia Z with about an hour of total play time.
I was never much of a fan of adventure style games as a kid which is why I find it oddly surprising that I’ve grown to love them as an adult. Sure the pixelart style brings with it that warm blanket of nostalgia but I really can’t say I enjoyed these types of games back in their original heyday. The renaissance that these types of games are going through has helped me make up for lost time somewhat, especially considering the number of games I churn through in a year. A Golden Wake, developed by Grundislav Games and published by Wadjet Eye Games, is the latest installment in the pixelart adventure genre, sporting craftsmanship that’s well above it’s 1 man studio station.
Alife Banks had everything going for him, a great job in the best city in the world and the respect and admiration of his peers. At least that’s what he thought as his namesake bred jealousy among his peers and one fateful day he was framed for something he didn’t commit. Undeterred however Alfie set out for the wild lands of Miami where a new real estate development, called Coral Gables, was underway. It was here that he’d restore the family name to the glory that it once had, all while making him rich and famous in the process.
I’ve come to notice that there’s 2 distinct kinds of pixelart games: those that use the medium for it’s minimalistic nature (often imbuing their own artistic style into it) and those who seek to recreate the style that was present during the golden age of gaming. A Golden Wake is very much the latter, lovingly recreating the arts style that was made popular by the numerous titles released under the LucasArts brand. It’s not exactly what you’d call a pretty game but the style is most certainly deliberate, an attempt at capturing the essence of what the 1920s would have been like.
A Golden Wake plays like your traditional adventure game although, like many of its modern brethren, it manages to avoid many of the pitfalls that plagued such titles of decades past. You’ve got a small inventory which holds all the items you’ll find on your adventures (of which you’ll ever only have a handful of) and a number of puzzles that you’ll have to solve before you can move the story forward. Some of these puzzles are pretty rudimentary, like having to speak to certain people, whilst others will force you to look around the environment searching for that clue which will allow you to progress forward. If you’re a long time fan of the adventure genre you’ll definitely feel at home in A Golden Wake but even newcomers to the genre should find it easy enough to pick up.
For the most part the game plays pretty well as the puzzles are logical, sequential and can often be solved within the space you’ll find them in. There are a few puzzles which had me stumped for a good while however, mostly because I was following a line of thinking that didn’t match up with the creator’s. It’s hard for me to fault the game for this as once I found the answers it was obvious that I was overthinking the solution. The game also tries to prod you in the right direction by leaving areas open that you still need to visit in order to do something which can be a huge help when you think you were done with a particular area.
There seem to be a few teething issues with the initial release however, seemingly around the Steam overlay and ALT-TABing the game. If I ever answered a chat message from one of my friends within the game it seemed to think one of the keys was stuck down and any dialogue would rapidly flit by. This would be fine if I could, say, reload from a checkpoint to hear it again but unfortunately that relies on you saving constantly. Whilst I don’t think I missed any super critical dialogue because of it (when it happened I’d immediately save and restart the game) it happened often enough to cause me a non-trivial amount of frustration.
Like I’ve said numerous times before I can often forgive even some of the gravest mistakes a game makes if the story is good however for A Golden Wake there’s not much I can overlook, unfortunately. Whilst I can appreciate the effort put into building Alfie’s character up the eventual turn happens far too suddenly and, if you choose certain dialogue choices, makes absolutely 0 sense. The last half is definitely far more engaging than the first which you could potentially attribute to all the setup that happens however it honestly feels like the story just goes no where for a while before finally making up its mind on where it needs to be. Credit is to be given for creating what feels like a realistic depiction of the 1920s however, and not just the romanticised version that many writers would have otherwise created.
A Golden Wake might not seem like an ambitious project on the surface, being yet another pixelart adventure game, however I can’t think of any other game that I could directly compare it to. Sure the adventure game mechanics are familiar and the art style is straight out of the LucasArt playbook but none have tried to create an experience like that found in A Golden Wake. Whilst it’s far from a perfect execution, including a story that goes no where for half the play time and a client that still harbors a few bugs, I do admire the ambition behind it. Still it’s hard for me to recommend it for anyone but die hard fans of the genre as they’re probably the only ones who’ll appreciate the craftsmanship and ambition behind A Golden Wake.
A Golden Wake is available on PC right now for $14.99. Total play time was 4 hours with 22% of the achievements unlocked. A copy of this game was provided to The Refined Geek by Wadjet Eye Games for the purposes of reviewing.
We seem to be going through a revolutionary period in gaming where IP from other mediums is suddenly finding its feet, becoming on par with (and even surpassing) experiences that were born within the gaming genre. Many will agree that this started 5 years ago when Rocksteady Studios released their seminal title: Batman Arkham Asylum. Since then many other titles have followed in its wake, staying true to the original IP whilst creating an experience that you simply could not get in any other medium. The latest addition to this style of games is Middle Earth: Shadow of Mordor, set between J.R.R Tolkien’s novels The Hobbit and The Lord of the Rings, which takes the source material and turns it into an experience that is among the best I’ve played this year.
You are Tailon, ranger captain stationed at the Black Gate in Mordor, sworn to keep watch over Mt Doom and all the horrors that dwell within it. The dark lord that dwelled within those lands had not been idle however, growing his vast army of grotesque orcs and uruk quietly, leaving the world of man to think they were safe once more. One fateful day he unleashed them upon the Black Gate, killing everyone within it. But your life wasn’t to be taken, instead you were bound to an unknown wraith spirit in a horrific blood sacrifice, unable to die and bound to the mortal plane. Now, with your new found wraith powers, you look for vengeance and the means with which to end this existence so you can be with your family once again.
Shadow of Mordor is quite the pretty game with scenes ranging from sprawling vistas to cramped caves and busy garrisons. The graphics still have that last-gen feel to them, mostly attributable to the choice of colour palette, however they’re certainly not bad on the eye. It’s also probably due to the choice of engine as well as Shadow of Mordor uses the LithTech Engine which hasn’t seen a game on it in the past 2 years. Still it manages a good level of graphical fidelity given its open world nature which manages to run smoothly even on my now aging rig. I’ll admit that I might be giving it a bit of an easy pass in this regard since I’m coming fresh off the horror that was Dead Rising 3 as by comparison Shadow of Mordor is liquid smooth.
In terms of game play Shadow of Mordor feels like it’s a cross between several different titles, taking aspects from each whilst integrating a new mechanic that binds and elevates the whole experience. At its core Shadow of Mordor is an open world game,. giving you dozens of missions to do any of which will help progress your character, the story or will help you get all those collectibles which so many people seem to lust after. The combat takes after the Arkham series of games in the classic beat ‘em up fashion. Then there’s the RPG elements in the character levels and talents alongside the gear upgrade path which takes the form of runes and a kind of currency that you’ll need to spend to unlock more slots. However the best part of the game is the Nemesis system, whereby members of enemy faction grow stronger, fight with each other for power and provide you with challenges to avenge your friends who’ve been cut down by them. Shadow of Mordor really does pack a lot of game into it’s (non-Australian taxed) asking price and I’m sure there’s double the amount of game play in it for dedicated fans.
Whilst the game wasn’t developed by either Rocksteady or Warner Brothers Studios the combat feels like they lifted the entire system right out of one of their Arkham series titles. As anyone who’s played those games can attest combat systems such as those are incredibly enjoyable to play, offering the right balance of challenge and reward, at least at the start anyway. You’ll start out struggling to deal with large crowds of orcs but you’ll soon morph yourself into an unstoppable killing machine, nigh on impervious to any attack the game might throw at you. It can get a little repetitive though as the ultimate abilities are simply unlimited versions of regular abilities but most of the time you’ll still feel like the ultimate badass when you come out on top of the two dozen orcs you happened across.
The upgrade system is well thought out in most respects, giving you the feeling of progression often enough that you won’t find yourself feeling like you’ve gone hours without the game rewarding you. There’s 2 stages of progression for your character namely your ability points and power level. The ability points are gained in the regular way, getting XP via missions and killing things, however power is only gained when you resolve power struggles, kill captains/warchiefs or do any of the other assorted red missions. It really doesn’t take long to unlock all tiers of abilities, enough so that I had access to the final tier about halfway through the game. If you’d prefer to keep the challenge up then all you need do is avoid the red missions however if you want to become ridiculously overpowered you’re no more than an hour or two away from doing so.
The loot and gear upgrades feels a little less polished as you’ll get runes from defeating captains but what you get is a little random. You can ensure a drop of a certain type by exploiting weaknesses and fears but unless you’ve deliberately died to a captain several times over you’re not likely to get a good drop from them. You can break down the runes into the currency to fuel the other upgrades however I feel like it would’ve been better to have a rudimentary crafting system in there to upgrade them. I usually had several runes of a type that I really liked but they weren’t powerful enough to use on their own. If I could combine say, three into one, to get an upgrade I feel like that would’ve been a lot better than praying to RNGesus every time I killed a captain or warchief.
I couldn’t publish this review without mention just how awesome the nemesis system is as it provides this kind of player driven narrative on top of the core story of Shadow of Mordor that’s just incredible. Essentially the uruks fight each other in order to gain power and you fight them to gain power as well. Should you die to one they’ll grow in power and, potentially, move up the ranks and get followers. If you’re so inclined you can even influence them to move up ranks, get them to usurp their own captains or turn on each other. Couple that with the wide variety of responses that the uruks have upon seeing you (knowing you’re using someone to betray them, how many times they’ve killed you and so on) and even facing the same enemy again doesn’t lose its lustre. It’s an incredibly deep system and one that’s sure to provide enjoyment to both story players like myself and those that just revel in open world games.
Whilst the story probably isn’t the strongest part of Shadow of Mordor it is most definitely above the average dreck that I’ve been making my way through this year. The main premise probably needed a bit more development in order to make that initial emotional moment a bit more impactful, and thus make me empathise with the main character a little more, but it didn’t take me long to get into it. Since this is drawing on the wider Tolkien IP it does manage to get away with not explaining a lot of things that would otherwise need some rigorous explaining which does aid the story quite a bit. I’ll also have to admit that the ending was so-so, missing that final climclimactictle that I was so looking forward to with my incredibly overpowered character at the ready. So overall I think it’s ok, although on the proviso that you’re already familiar with The Lord of The Rings IP.
Middle Earth: Shadow of Mordor is a game where the sum of its parts is much greater than its whole. The combat is fast paced and satisfying, the progression well paced and the overall look and feel just feels a level above other similar games of recent memory. The nemesis system is really what pulls the whole game together, adding another layer on top of the game that really ramps up how engaged you’ll be with Shadow of Mordor. It’s not a perfect experience by any stretch of the imagine, with the middling story being the biggest mark against it, but the whole package helps to patch over the various minor faults. In all honesty I think most gamers will find something to like in Middle Earth: Shadow of Mordor as its wide variety of mechanics and styles ensures that it caters to an incredibly wide audience.
Middle Earth: Shadow of Mordor is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne right now for $39.95, $99.95, $89.95, $89.95 and $99.95 respectively. Game was played on PC with 13 hours of total playtime with 61% of the achievements unlocked.
The original Dead Rising was one of those games that every owner of a Xbox360 had on their shelves. It was just the right combination of not taking itself seriously and solid zombie killing action, long before the dearth of zombie based titles we have today. There was enough variety that pretty much any player could find something to like in it although the constantly ticking down clock ensured that you’d never get everything you wanted done in a single play through. The latest instalment, Dead Rising 3, continues along the series’ tried and true lines, although the experienced is marred by both performance and design level issues.
It’s been 10 years since the last outbreak when suddenly Los Perdidos finds itself in the grip of another zombie apocalypse. You are Nick Ramos, a young mechanic in this city who’s trying to find a way to get himself and his crew out of there. After a routine search for supplies you find out that the army is going to fire bomb Los Perdidos in order to contain the outbreak, giving you just 6 days to get yourself out of there. However as you ready your escape it becomes clear that there’s far more to this outbreak than would appear and it’s up to you to stop it.
Considering that Dead Rising 3 is a next-gen only title you’d expect the graphics to be a bit of a step up from its predecessor however it looks largely the same as many of its previous generation counterparts. This is partly due to the fact that the scale of the game has been ramped up significantly, going from an apocalypse inside a mall up to an entire city being taken over. That increase in scale also means an order of magnitude of zombies on screen, something which is at odds with high end visuals. I’ll touch on the performance later however suffice to say that Dead Rising 3’s graphics are pretty average, even when you take into account the scale that it’s operating at.
Dead Rising 3’s game play follows the same formula as its predecessors, putting you in charge of a single character who has to make his way through untold hordes of zombies using anything he can find. As you massacre your way through you’ll be rewarded with levels and points which you can spend on improving various aspects of your character. The crafting system also makes a return however this time you’re also able to craft vehicles as well, something you’ll be doing a lot of if you want to get across town in any sort of reasonable time. You can now also bring survivors along with you, equipping them with weapons so they won’t just be zombie attractors who will die shortly after you rescue them. This, combined with the usual affair of achievements and collectables, means there’s dozens of hours of play time within Dead Rising 3, more than enough to keep even the most keen achievement hunters busy.
The combat feels largely the same as its predecessors, retaining the same 3rd person beat ‘em up style that the Dead Rising franchise is known for. The variety of weapons ensures that you’re always finding news ways to dispatch large numbers of zombies quickly however it doesn’t take long to find the really overpowered combos that you’ll want to exploit. This is counterbalanced by the fact that some apparently powerful looking combos are pretty lacklustre although thankfully you won’t be spending a lot of time tracking down components in order to make them. The grim reaper, for example, trivializes much of the game and the store you originally find it in has enough to make 2 of them, enough to kill 1000 zombies.
The inclusion of vehicles in Dead Rising 3 is a necessity, given the scale, however the vehicle crafting adds a little entertainment to what would otherwise be one of the game’s more annoying aspects. Again there are certain combos which are just insane, like the turret rig, but their limited life means you likely won’t have access to one every time you need it. One more annoying aspect of the vehicles is that you’ll need to find one with enough seats for your crew if you’re going to use one otherwise you’ll simply leave them behind, never to be found again. Whilst this isn’t an issue if you’re near a garage often you’ll find yourself in the middle of no where needing some form of transportation and the 2 seater varieties seem to be far more common than their larger counterparts.
Which brings me to my next point: the survivors in your possie are usually a liability more than anything else which is frustrating considering there doesn’t seem to be a way to tell them to stay at a safe house. Their AI is incredibly basic, often getting stuck in wide open spaces, unable to figure out how to proceed until you knock them over and they redo their pathing. This is only made worse by the fact that they don’t seem to understand how to use their weapons properly as they’ll either do nothing until you do the same motion (I.E. they won’t melee unless you do) or they’ll wait until they’re swamped before attempting to do something. The only time they become useful is during boss fights but apart from that you’re better off just letting them meet their end.
As many other PC reviewers have noted Dead Rising 3 suffers from some major performance issues right off the bat, often struggling to render a single frame for seconds at a time. It’s largely tied to when you first see a large group of zombies for the first time however there are also random times when it occurs, often leaving the sound playing which ends up with the characters being wildly out of sync. Creating a user.ini file to unlock the framerate (it’s capped at 30 fps natively) and knocking down the graphics a couple notches pulls it into the realms of playable but it still manages to peg all aspects of my system, even when there isn’t much going on. This is even after a couple patches which you’d presume would’ve made the experience better but, honestly, in its default form Dead Rising 3 is an unplayable mess.
This is only made worse by the lacklustre story which attempts to err more towards the serious side of things rather than the more comedic style of its predecessors. Sure, the essence of the not-so-serious nature of Dead Rising games is still there (like your costume appearing in cut scenes or the cartoony boss fights) but overall it feels like they’re trying too hard to make the story serious. Whilst I admit you’d never play a Dead Rising game for its deep story content it still feels like a good chunk of what made Dead Rising games so fun was lost in the latest instalment which is a real disappointment.
Dead Rising 3 is another solid instalment in the series, one which is unfortunately marred by performance problems and lacklustre story elements. The essence of what made this franchise good is still there, like the ridiculous combat and comedic game elements, however it just falls short of the “must have” status that the original had. It’s still a blast to play, especially when you unlock some of the more overpowered combos, however there’s probably not enough in there to keep me coming back for untold hours at a time. I’m sure long time fans of the series will find a lot to like in Dead Rising 3 but don’t be fooled into thinking it’s flawless.
Dead Rising 3 is available on PC and XboxOne right now for $49.99 and $57 respectively. Game was played on the PC with a total of 7 hours play time and 25% of the achievements unlocked.
I never spent much time with the Halo series. It’s not that I had anything against it per se, just that by the time I had an Xbox the series was already well under way and I didn’t really feel inclined to go back and play through all of them. Still I was well aware of how much of a following Bungie had and so was somewhat intrigued by what their first post-Halo title would be like. To be honest though I was going to wait for it to come out on PC (controllers and FPS don’t mix) however an endless barrage of requests from a mate of mine saw me begrudgingly pick it up. Now that I’ve lost almost a full day’s worth of my life to this game I’m glad he berated me into buying it as Destiny stands out as an exceptional title.
Centuries ago mankind was beholden to an event unparalleled in its entire history. Out of no where it arrived, a white sphere larger than any city, and with it came a time of endless prosperity. Human life spans tripled and they reached out across their solar system, colonizing all the planets. However The Traveller, as the white sphere had became known, had a dark enemy that sought nothing more than its demise. This led to the collapse of human society as it was known, pushing humanity back to a single safe haven under the Traveller’s protection. The darkness still encroaches, slowly killing The Traveller and threatening to wipe out all of humanity for good, It is up to you, one of many empowered by The Traveller to wield it’s light, to save it and humanity from the darkness that threatens to consume everything.
As this was my first PlayStation4 title it was great to see Destiny making use of the extra grunt under the hood. The gritty styling that was common across previous generation titles has finally passed and has been replaced with a much more visually diverse environment. Indeed there were numerous times I had to stop and stare out at the vast environments Bungie created as the breadth of scale they gave the game was just phenomenal. This extends out to all the other elements in the game, like the system map and various UI pieces, which just have this level of polish to them that you don’t see often, even in other AA titles. It’s not exactly Crysis levels of eye candy however, but the fact that it can run smoothly (albeit at 30fps) at 1080p says a lot of the capabilities of the system and the titles developers can create for it.
Destiny is most readily compared to games like Borderlands, comprising the same key elements whilst including some MMORPG style mechanics to keep you glued to your controller. You have your choice of 3 different races (which have no impact apart from cosmetic) and 3 different classes, each of which have their own unique abilities and play styles. Whilst you’ll have a traditional levelling system the gear you find will also level up with you, providing an additional path for progressing your character. There’s also the bevy of skills you’ll unlock as you play through the game (which occurs independently of your main levels) and should you max all of that out you have another sub-class you can level up which will completely change you play the game again. This is not to mention the dungeons, raids and PVP that you can also engage in. Suffice to say there’s a ton to do in Destiny and even with the inordinate amount of time I’ve spent on it I still feel like I’m only part way through it.
The combat in Destiny is mostly your typical fast paced, run and gun style shooter however there are elements of strategy that you’ll need to understand should you want to complete certain objectives. You still have unlimited life in the form of of the tried and true “take cover and regenerate” mechanic, which does allow you to blast your way to victory in the early stages of the game, however it doesn’t regenerate to full immediately. So whilst you might get yourself out of trouble initially you might find yourself in trouble once again should you take a stray bullet before the second round of regeneration kicks in. Since the typical encounter is wave after wave of enemies this can sometimes lead to your untimely demise when enemies spawn behind you however the death and respawn mechanic is generous enough that you don’t feel overly punished for when that happens.
If that was all Destiny was it would probably be in the same class as Call of Duty however the addition of class skills and abilities helps to make the combat more fun and varied. I played as a Titan which roughly translates to your front line, heavy hitter style of class who also has several delightful augments to your melee attack. Whilst it’s not advisable to punch everything in sight I have to admit it’s a lot of fun to try. Combine this with your super ability (you charge up over time and eventually become “supercharged) which allows you to decimate large hordes of enemies in a single blow and you have a recipe for combat that’s fun, varied and ultimately thrilling when you pull off a large combo.
However the combat gets a little bit repetitive when it comes to the boss fights as they’re typically just larger versions of smaller enemies you’ve faced before and with a bucket load more health (and endless swarms of minions around them). You can usually figure out how to avoid most of the damage from them but you’ll usually be there for a good 10 to 15 minutes unloading clip after clip into them, hoping you’re chipping away at that ginormous bar of health they have. Sure I can understand why it’s in there however it can be down right frustrating when you’ve spent a good chunk of time whittling a boss down only to get unlucky with a bunch of spawns that wipes your party, forcing you to redo the whole thing again. It’s for this reason I usually couldn’t do more than a couple dungeons a night as they start to wear you down after a while.
The levelling system, both in terms of your character’s levels and unlocking upgrades for your gear, both seem to happen often enough that you never feel like you’ve gone ages without progressing something. This is most certainly what kept me coming back through the first few hours of the game as you rapidly go from being a complete and utter noob to someone who feels at least partly effective when doing things with your team. The progression does start to taper off as you approach level 20 and you’ll quickly find yourself lusting after an upgrade for a piece of armour or that weapon you’ve been hanging on to for far too long.
Indeed this is where Destiny most closely resembles MMORPGs as whilst you can find decent loot from drops you’ll need to engage in the good old dungeon and reputation grind in order to get the premium tier of gear. Even the beloved Murder Cave (which Bungie has now shut down) wouldn’t yield much in the way of upgrades over the course of hours of farming. No if you want to progress you’re going to have to pay your dues and grind out that faction rep. I can’t exactly fault Bungie for this, time invested in MMORPGs is what separates the hardcore from the filthy casuals, however if that’s not the kind of thing you like to do then I’d recommend enjoying the story and then pretending the rest of the game doesn’t exist.
The world that Bungie has created in Destiny is definitely one of grand scale and one I’m sure that they’ll be looking to expand upon in the future. Whilst I’m not complaining about the length of the storyline it definitely felt like a lot of the supporting elements weren’t given enough time to shine. The various races that you encounter are usually given a rough background as to where they’re from and why they’d want to kill you but apart from that you’ve got no idea what their greater motivations are. The Vex are probably the most fleshed out however they still feel like a faceless enemy. I’m sure this is something Bungie will look to expand upon in further instalments in this series but for now much of the world feels underdone.
The story itself is pretty enjoyable, not straying too far from the hero’s journey paradigm, however it’s marred by the surprisingly lacklustre performance by the main driver of the story: your ghost (voiced by Peter Dinklage). So many of the lines are delivered lacking emotion or an understanding of the context in which they’re said, making the character feel disconnected from pretty much everything that’s going on. This is in stark contrast to nearly every other big name actor that has a voice acting role (apart from the Crucible announcer) who do a fantastic job in portraying their characters. Since it’s his first major game voice over I’ll give him some slack but I hope he improves for future releases.
Destiny is an amazing title, combining elements from FPS, RPG and MMO genres into a single experience that is well above many of its peers. As an introduction to what the now current generation of consoles are now capable of producing Destiny is very impressive, showcasing just how capable they are. The combat is challenging and fulfilling, pushing you hard enough to make you feel like the ultimate soldier when you manage to dispatch massive hordes of enemies in a single swoop. The loot, levelling and dungeons are sure to keep you coming back long after the story has run its course. I thoroughly enjoyed my time with Destiny and for fans of Bungie, or just good games in general, I’d be very surprised if you were disappointed with the experience it provides.
Destiny is available on PlayStation3, PlayStation4, XboxOne and Xbox360 for $79, $79, $79 and $79 respectively. Game was played on the PlayStation4 with 22 hours of total play time, reaching level 22.
Total Annihilation was probably one of my favourite games when it was first released 17 years ago. It wasn’t the massive swarms of units, or the epic scale of the battles, no I loved building up the superpower units that could decimate an entire army in one fell swoop. I’d spend hours crafting the perfect base, one that no one could break through so I could sit there crafting my doomsday weapon. I even downloaded TAUIP to give me even more units and a better AI, sending me further down the TA rabbit hole. It’s spiritual successor, Supreme Commander, was also one of my favourites, even if the sequel fell short. You can then imagine my excitement when I saw the Planetary Annihilation Kickstarter which I couldn’t back fast enough. Here we are, 2 years later, and Planetary Annihilation has finally launched and I’ve spent the last week playing through it.
Humanity has long since left this universe. You are a relic of a war that has long since past, a machine built with a single purpose in mind: to annihilate everything that stands in your path. You will travel to the far reaches of space, seeking out new technology that you’ll incorporate into your unrelenting war. However your foes have the same goal and they will stop at nothing to ensure that you are wiped off the face of this universe permanently. Do you have the strength and skills to beat them before they get the better of you? Or will you fall to the same unrelenting fervour that you are a slave to?
Visually Planetary Annihilation is definitely a step up from its predecessor (for the sake of argument I’m going to say that’s Supreme Commander 2) although the art direction now tends towards the stylized/cartoony. Considering the purpose of Planetary Annihilation this isn’t much of a surprise as one of the long running problems with any of the Annihilation series was that performance often suffered the longer the game went on. Suffice to say that even with the slight improvements it still manages to remain quite smooth over the course of longer games. The interface is also much more streamlined, making it far easier to get acquainted with everything than it was in previous titles.
Like previous installations in the Annihilation series Planetary Annihilation puts you in charge of a single unit, the Commander, to start off with and then lets you loose upon a world to build an army to destroy your foes. However you’re now no longer constrained to just a single planet, escalating the potential warfare to planetary levels. This introduces a whole host of new mechanics like orbital units, teleporters and whole planets which can be used as weapons. Notably absent from the game however is the inclusion of a single player story campaign which has been replaced by a procedurally generated series of AI skirmishes called Galactic War. Finally there’s multiplayer to be had which is likely where most people will be spending their time, although it’s done in the older style of “find a lobby to join” rather than the newer style matchmaking.
Long time fans of the Annihilation series will be instantly familiar with the core gameplay of Planetary Annihilation as all the units are essentially the same with your standard air/vehicle/bot/naval choices immediately available from your commander. The tech trees have been reduced from 3 tiers to 2 which significantly reduces the number of units you’ll have at your disposal. However this is made up for by the inclusion of the new types of units and was probably done because you’ll likely be splitting your concentration across multiple planets with multiple warfronts. The same mechanics are at play, you’ll need metal and energy in order to be able build things, however they have also been streamlined with only 2 types of energy generators and metal extractors. So overall the gameplay is largely similar but streamlined with a few mechanics thrown in to elevate the combat to a planetary scale.
However unlike previous Annihilation titles there’s no factions to speak of so all the units are exactly the same for every player. For me this was one of the defining features of the Annihilation series as it meant that each race had it’s own strengths and weaknesses and different strategies were needed to cope with each different race. In Planetary Annihilation that’s not the case however and all you really need to do is figure out what kind of units your opponent is building and make the counter to them. This, especially when competing against the AI, means that the game favours those who rush their opponents with swarms of a certain mix of units early, even more so when you’re on the same planet. Indeed there are very few opportunities to craft super units that can devastate armies, a trademark of the Annihilation series, thus eliminating much of the strategy that I came to love about these games.
In fact I think this is reflected in one key metric: the length of each game. Games in Total Annihilation and Supreme Commander could easily go on for hours as everyone tried various tactics against each other, all the while hoping to build that one unit or structure that would give them the upper hand. In Planetary Annihilation most games will go for 20 to 30 minutes before it’s obvious who’s going to win. Again this was something that I loved about the Annihilation series as it always felt more strategic rather than tactical and was the primary reason many disliked Supreme Commander 2. The planetary scope had a lot of potential to recapture that feeling that so many previous Annihilation titles had but it unfortunately fell way short of the mark.
This is only exacerbated by the incredibly lackluster single player campaign. Whilst the idea behind Galactic War sounded good on paper in practice it’s not much more than one AI skirmish after another, ones that are either easily won within the first 10 minutes or others which are an uphill battle due to the fact that the AI is given a head start over you. It’s made worse by the fact that you can get shoehorned by the technology that you collect during the various missions, sometimes putting you in a spot that’s nigh on impossible to bypass. Like, for instance, if you’ve got all naval and air tech but the enemy starts on another planet you’re likely sweet out of luck as you won’t be able to use the teleporter to get them across. Instead you’ll have to rely on shooting nukes over there and hope that they haven’t got more anti-nuke facilities than you have missiles.
There’s also some niggling issues around the game itself. If you start an AI skirmish or Galactic War there’s no way to restart a battle if it isn’t going your way so you’ll have to quit and restart Planetary Annihilation in order to start over again. I can somewhat understand that not being in the Galactic War (if it’s meant to be a Roguelike experience, although I have no idea if that’s the case) but for AI skirmishes it seems like a really glaring omission. Things like that are supposed to be about testing builds or trying out units that you haven’t seen before and so restarting the battle quickly and easily is key to that. Having to boot the game over every time you want to do that is a right pain in the ass and not something I expected from veteran developers like Uber Entertainment.
Planetary Annihilation feels like a game that’s still in beta mode, lacking the polish of it’s spiritual predecessors and ultimately failing to deliver on the tried and true Annihilation franchise experience. The core aspects of the series are there, the massive units, larger than life scale, etc. but the game itself just doesn’t play like the titles of yore. This isn’t a case of the game not living up to the hype, after backing the game I ignored pretty much everything to do with it until I heard of the official release, more that too many things of what made the previous Annihilation titles good have been left out and what remains just isn’t enough. I really wanted to love Planetary Annihilation but it just feels like the official launch came way before it was ready for primetime with a lot more work to be done before I can say that it’s up to the calibre of its predecessors.
Planetary Annihilation is available on PC right now for $29.99. Total play time was 6 hours. The writer backed this game on Kickstarter at the $250 pledge level.
Ever since I bought my PlayStation4 a year ago it’s sat there next to my TV, begging me to play it. The problem is that pretty much every game that I would play on it has also been available on PC and since that’s my platform of choice the PS4 unfortunately falls by the wayside. It also doesn’t help that the one launch title that I wanted to play, The Witness, has since been delayed to “when it’s done” status which means we’re not likely to see it for some time to come. However one of my mates convinced me to go and play Destiny with him and since it won’t be available on PC for sometime I figured this would be a good chance to give the PS4 a burl.
For starters it seems that the PS4 exhibits some rather strange behaviours when it’s not connected to the PSN, usually when it requires an update. I was trying to put the disc in to get everything going but, for some reason, it just wouldn’t grab it. I’m not sure if this is because Sony don’t want you installing games offline or something like that, but it was rather frustrating to see what I had assumed would be default functionality turned off when it couldn’t contact home. A quick Google shows that this particular issue has plagued others as well, although what leads to it happening seems to be somewhat random.
Another gripe I have is the game installation and update process. Whilst the initial installation seems to be relatively painless (it just does it in the background) the update process is rather cumbersome. You’ll automatically get any updates for the game added to your download queue however you don’t apply them from within the game. Instead you have to wait for the download to finish, find the download (a chore in of itself) and then tell it to apply. You can’t simply sit in the game, watch the download and then apply the update from there like you could with the PS3. Honestly it feels like a huge step backward in terms of usability and I’m not hopeful that it will ever get changed if it’s still like this almost a year down the track.
The gaming experience is pretty good, however. It didn’t take long for me to get into a party with my mate and to get voice chat going although the quality of the included mono headset is probably about as mediocre as you can get. I was somewhat sceptical about the new controller design, it looked a little goofy, however it does feel very comfortable in the hands. The stick buttons were a little hard to push down (a little annoying as that’s sprint in Destiny) but that might just be them needing a little breaking in before they become usable. I didn’t get a chance to check out the inbuilt sharing features unfortunately as that’s something I definitely want to see in action.
I’ll probably touch more on the PS4 experience in the greater Destiny review (coming in the next couple weeks) however my first impressions are good, if marred by some issues that really should have been sorted out by this point in time. Whilst I lament the fact that it’s sat there for the better part of a year unused I’m at least somewhat happy that it has managed to provide a good gaming experience once I did find a title for it. I’ll develop a more fully formed opinion of it whilst I bash my way through Destiny and will hopefully be finally able to tell you if it’s worth buying or not.
Better late than never, right?
The Sims have always been something of an anomaly. The game play really is unlike anything else on the market, putting you in charge of a virtual household and the residents that dwell within. Whilst many players quickly devolve into seeing how much pain and suffering they can inflict on their poor subjects just as many attempt to provide the best life possible for them. Most interestingly it’s one of the very few games where the player base is predominantly female, representing a staggering 60% of the total. This is not to say it’s squarely aimed at that demographic, far from it, as it appears to have widespread appeal across all the world. The latest release, predictably dubbed The Sims 4, comes 5 years after the release of its predecessor and brings with it a vast number of improvements to the tried and true franchise.
As with all previous The Sims titles you’re the mysterious god that floats about the world that the Sims dwell within, guiding their actions when their less-than-stellar AI behaviour falls short. Depending on how you crafted your Sim they’ll have different wants, needs and career paths in life and it’ll be your job to ensure that they can meet all of them. Along the way you’ll interact with dozens of other Sims, forming relationships, breaking others and engaging in other humanesque behaviours. What kind of Sim will you create? The rich and handsome playboy that could have everything he wants? Or the struggling single parent who wants nothing more than to see their child succeed? All of this, and so much more, is possible within the world of the Sims.
The Sims has never been a graphical masterpiece, preferring simplicity so that the game would run well on almost any PC that you could throw at it. The Sims 4 continues this tradition as the graphics, whilst vastly improved over its predecessors, are still fairly rudimentary. There’s been improvements in the lighting engine, higher polycount models and better textures to be seen everywhere but they’ve still been heavily stylized to give it a cartoony feel. The Sims 4 keeps the same visual aesthetic that the previous titles had with the clean interface design that favours solid, clear cut colours. Overall it’s pretty much what you’d expect from a Sims game so no disappointments here.
Like the previous Sims titles The Sims 4 puts you, initially, in charge of a single Sim that you craft through a rather detailed process. In there you select traits, characteristics and aspirations which define who your Sim will be in this world. Then you’re given a token amount of money and let loose to find a property or lot that you want to purchase. You’ll need to make some tough decisions here though as your choice of house, and the fixtures contained within it, will have a direct effect on how your Sim fairs. Once you’re in your new house you’ll unlock a veritable cornucopia of different things to do, all of which have some form of impact on your Sims mood, desires and needs. All of the activities that you’ll do will feel familiar to long term Sims players although the breadth of what’s possible has increased significantly.
One thing that I feel bears mentioning is just how well designed the new interface is. My vague memories of The Sims 3 reminded me that it took quite a long time to figure out where everything was, drastically increasing the time it took me to get anything done in that world. By comparison The Sims 4 interface is amazing with everything being readily discoverable and being incredibly easy to use. The search and rooms features on the construction menu are fantastic, allowing you to easily track down the exact product you’re looking for without wrestling with the interface. After about an hour I was pretty confident I had a grasp on pretty much everything with the few finer points covered off in help tips whenever I came across them.
The core game play aspects of the Sims series are present in The Sims 4, giving you a variety of different objectives complete. Whilst there are some staple things you have to accomplish in order to keep your Sim happy, like feeding them or making sure they use the bathroom before its too late, you’re pretty free to pursue whatever you want at your own leisure. I primarily like to produce career focused Sims and so my playtime usually revolves around that. However if that’s not your style there’s plenty of other things to keep you occupied although, honestly, I couldn’t really tell you much about the things outside the career focused ones.
And yes getting someone to move in with you is a career choice (don’t have to leave the house for the social need, score!).
Like most Sims games it’s pretty easy to cheese your way through certain things if you make a few key decisions in the right way. For instance, if you’re so inclined, purchasing the best sink you can get means your Sims barely have to shower as simply washing your hands will keep them going for a very long time. Similarly you can eliminate a lot of wasted time by cooking party sized meals and just eating them over and over again. Indeed your Sims don’t seem to get tired of eating the same thing repeatedly and once your cooking skill is high enough they’re just as satisfied with eggs on toast as they are with a gourmet blackened salmon dish.
In fact that’s probably my biggest gripe with The Sims 4. Whilst there might be a huge variety in what you can do it all starts to feel really samey after a not too long period of time. This becomes all too obvious when you’re trying to befriend someone and you’re constantly spamming all the different options with the results usually being the same gibberish response and a ++ in the friendly column. This is usually when most people start to unleash their sadistic side on their Sims, removing doors, making prisons or denying them food and facilities until something horrible happens. I’ll admit that I was too attached to mine to do anything (I even enabled cheats to reverse the aging of one of my Sims, forgetting that you can turn that off in the options menu) but I can’t say I wasn’t tempted.
There seems to be a lot of gripes circling the Internet regarding the features that have been taken out, like toddlers and pools, as well as the somewhat unusual decision to not send out review copies. I think most of these criticisms are valid as whilst there does seem to be a lot to do in The Sims 4 it does feel a little limited compared to my vague memories of its predecessor. In all honesty it didn’t affect my playthrough too much (although I’d love multiplayer in this) but then again I wouldn’t consider myself the biggest Sims fan out there. Indeed I doubt I’ll barely touch it past this review as I’ve pretty much done all I really wanted to do in it.
The Sims 4 is an evolutionary step forward for the Sims franchise, bringing with it all the trimmings you’d expect for recent release of this classic series. The graphics, interface and overall playability has been greatly increased making it much less of a chore to get into than previous entrants into this series were. There’s an incredible amount of depth to the mechanics that made it into the game however the criticisms around lack of content and certain features do feel like valid concerns to me. Overall I enjoyed my time with The Sims 4 and whilst I won’t be sinking many more hours into it I’m sure fans of the series will get a lot of enjoyment out of it.
The Sims 4 is available on PC right now $89.95. Total play time was 8 hours.
Of the numerous games that I’ve played that have come up through Steam’s Early Access program few have felt like they were actually finished games. The core gameplay is usually refined enough however they rarely feel like a cohesive whole, the rough edges of a just finished beta still rearing their ugly head. Sure they may have come a long way from where they were originally, and to those who’ve been involved with them for a long time they might feel a lot more polished, but all too often they feel like they still needed a bit more work before being unleashed on the world. Lichdom: Battlemage however is one of the rare examples where its Early Access stint was obviously well spent as the result title is just awesome.
You were just a simple blacksmith, one who enjoyed his craft and was good to his loving wife. However your life took a dark turn when one of the local nobles took exception to your refusal to sell him your wares, slaughtering your wife in front of you before knocking you out cold. When you came to though you weren’t in your shop, instead you’re out in the streets with a strange robed man hovering above you. His name is Roth and he has bestowed upon you a great gift: a pair of magical bracers that grant you control over some great power. It seems that, at least for the moment, your goals align as Roth wants you to take out the noble who wrong you however not for the reasons you’d first expect.
Interestingly Lichdom: Battlemage is built on CryEngine 3, the same engine that brought us the visual masterpieces that were Crysis 2 and Crysis 3. Whilst it’s not exactly up to the same level as those titles (few games are) Lichdom is still quite impressive in its own right. There were numerous scenes that just made me stop and admire the scenery. Combine this with just how ridiculous the effects can get when you’re using different spells on the vast hoards of enemies you’ll face and you’ve got a recipe for a game that never feels visually dull. It did stress my rig to its limits, with the graphics fan roaring into life on many occasions, but to Xaviant’s credit everything ran pretty smooth for the most part. I would like to see how Lichdom goes on a more modern rig as I’m sure it’d be incredible.
Lichdom: Battlemage’s core gameplay is probably best described as a fantasy take on the modern corridor shooter however the mechanics backing it up, which take inspiration from your more traditional RPG style game, add an incredible amount of depth. You start off with a couple basic spells but as you blast your way through the levels you’ll acquire new components which you can then use to craft different kinds of spells. Initially these start off as just better versions of the spells you already have however as you unlock more components and more spell types the kinds of effects you can create increase exponentially. So what starts out as a relatively simple concept, a mage with unlimited spammy power, quickly evolves into a deep game of mechanics, one where the more you explore mechanics the more awesome combos you find.
The combat itself is always fast paced, filled with dozens of effects, projectiles and enemies throwing themselves in your general direction. For the most part you’ll likely be able to get by spamming a single ability however if you want to do things efficiently you’ll need to make use of every different weapon in your arsenal. There are some elements of strategy, like taking out enemies that summon other enemies first, but for the most part you’ll be focused on blocking/dodging attacks and spamming out whatever ability you’ve chosen as your primary damage dealer. Of course your mileage may vary on this considerably as depending on which sigils you choose the strategies you’ll need to use will change dramatically.
There is a distinct lack of variety in the enemies you’ll face however. There’s the cultists, undead and demons and they’ll will pretty much be the same kinds of enemies no matter where you go, just with more health. Sure you’ll get the occasional buffed enemy that has some special attribute (like reflection, grrrrr) however after about 4 hours in Lichdom you’ll have seen every enemy you’ll face from then on out. The boss fights are, to their credit, unique and challenging but they’re so far apart that their uniqueness is often lost between long bouts of repetitive encounters. The numerous different types of spells go a fair way to alleviating this however I don’t feel it should be up to the player to provide their own variety, even if there’s a lot of it to be had.
The main source of enjoyment in Lichdom comes from the crafting system which has an incredible amount of depth to it. You’ll collect spell types and augments throughout the game, all with quality levels derived from the traditional RPG style loot systems (common, uncommon, etc.). You can use these components directly or you can upgrade them to a higher tier of quality by sacrificing two other same quality level items. All of them also have a power level associated with them which determines how large the effect will be. Combine this with the 8 or so base sigils (fire, ice, lightning, etc.) and you have literally billions of possible combinations of different spells, effects and modifiers. Initially I found it mostly just a chore to sort through everything in order to get the spell I wanted but later on it became my main source of enjoyment.
I eventually settled on a combination of fire (damage dealer), ice (mastery application, basically a damage boost) and kinesis (because I got 2 unique spells for it). With this combination I was able to root large groups of enemies in place, cover them in mastery and then one shot enemies at my leisure. Before I switched to kinesis I was using lightning with a nova that had a 35% apocalyptical chance, enabling me to turn into a lightning god whenever I needed to and lay waste to large swaths of enemies. However the later build was much better for instagibbing enemies, something which you really need to do when 1 hit from them can take off a whole bar of your shield. I’m sure there’s hundreds of other viable combos out there though as I didn’t touch half of the sigils I unlocked.
The story is pretty rudimentary, giving your character enough motivation to go along with the plan that’s been laid out for him but lacking any kind of emotional connection. They did manage to get some top notch voice talent, Troy Baker (Joel, Last of Us) for the male dragon and Jennifer Hale (Femshep, Mass Effect), and whilst they do a great job it’s not their acting that’s the issue, it’s the incredibly light on story. Whilst it’s not exactly a huge flaw if you were looking for a good story then Lichdom will disappoint as it’s really only enough to keep the story moving forward.
Lichdom is pretty well polished with the only noticeable issues being things like the AI acting strange (often getting stuck on nothing or clipping through walls when they shouldn’t) or mechanics not working how you’d expect them to. I did have one major issue where my PC crashed during a longish session which corrupted my save game. However upon checking out the Steam forums I found that several people had the same issue and emailing my save game to Xaviant should get it fixed. 2 hours later I had an email back from them with my restored game files and recognition that they’re aware of the issue and working on a fix. Honestly I’ve never had that kind of response before so a big thumbs up to Xaviant for not only fixing my issue but also being incredibly responsive.
Lichdom: Battlemage is a game that, on first pass, appears to be a simple mindless game of spamming spells and collecting loot. However once you dig under the hood a little the incredible depth of the mechanics available to you becomes apparent and suddenly you’re playing a completely different game. There are a few issues that plague the experience, like the lack of variety of enemies and the so-so story, but otherwise Lichdom really does stand out as one of the better titles to play before the ramp up to bevy of titles that will be slamming us this holiday season.
Lichdom: Battlemage is available on PC right now for $39.99. Total play time was 12 hours with 23% of the achievements unlocked.
A lot of retro styled games rely on the aesthetic to conjure up a sense of nostalgia for us long time gamers, hoping to link us up with experiences past in the hope that some of it will translate across. Back when that idea was still new I have to admit that it worked quite well although as time has gone on the differences between modern retro titles and their ancestors have become more stark, removing that sense of nostalgia completely. There are few games that manage to capture both the aesthetic and the essence of what made those games so memorable and I’m happy to say that I now count Shovel Knight among them.
You are Shovel Knight, a brave warrior whose weapon of choice isn’t exactly mainstream. You’ve seen many adventures always with your most trusted compatriate, Shield Knight, by your side. However one day, when exploring the Tower of Fate, you both fall under the power of the Dark Amulet. When you awaken Shield Knight is no where to be seen and you give up adventuring while you mourn her loss. However The Enchantress, an evil and powerful witch, has arisen in your absence spreading her evil across your land. When you hear she has unlocked the Tower of Fate once again you resolve to pick up your shovel once again and to rid your land of the darkness that now grips it.
Shovel Knight is visually reminiscent of the action adventure games of old with many of the visual elements being readily recognisable. Indeed the rendition was done so well that I figured there was no way it was using some kind of modern engine as everything really did have a retro feel about it. The end credits revealed it does use Box2D for its physics which has obviously been tuned to give it a much more retro feel. The music and foley also feels like it’s right out of a NES title, retaining that lo-fi quality and signature sound that games of that era had. If I’m honest it feels like the most honest recreation of an old pixelart game to date, eschewing any modern improvements in favour of keeping that nostalgia feeling alive.
In terms of gameplay Shovel Knight again feels awfully familiar, taking the tried and true mechanics from games of ages past and adding in a little of its own flair. The combat feels much like the Zelda games of old where you’ll be jumping, dodging and swinging your weapon wildly in order to defeat your foes. There’s also the tried and true platform sections, many of which rely on you using the various relics you’ve acquired in order to progress past them. You can also upgrade/modify your character in order to suit your playstyle, enabling a multitude of different ways to progress through the game. Lastly, if that isn’t enough for you, there’s dozens of achievements and challenges for you to complete, some of which require a great deal of skill to accomplish.
In the beginning the combat feels a little weird which I can pretty much wholly attribute to my use of the keyboard. You see just like the games which Shovel Knight takes inspiration from it was most certainly designed with a controller in mind as the keyboard setup is most certainly not intuitive. However once I got past that hurdle I actually felt that it was quite forgiving, especially after you got up a couple of the more broken items (the Phase Amulet especially). Indeed after the first couple bosses I found that I could usually cheese my way through them after a single death, something I definitely couldn’t say about say Zelda back in the day.
That being said the platforming, whilst being well thought out and challenging in the right ways most of the time, had more “fuck you player” moments than I’d like. These are things that you can’t plan for (like enemies appearing out of no where) or the introduction of new mechanics without an indication as to what they do. This is somewhat in the spirit of the game as a lot of titles from early nineties didn’t do this either, however that doesn’t stop these things from sucking out some of the fun in an otherwise great game. The rather generous recovery mechanic makes up for this a little bit although that can sometimes lead you into a horrible spiral of dying simply because you’re trying to recover your gold.
What is quite impressive about Shovel Knight is the sheer amount of variety that’s in the game. Every level has its own distinct theme with numerous different types of enemies and mechanics, meaning that no 2 levels feel quite the same. Sure there are some things you’ll learn in early levels that will come in handy later on but for the most part each level will be an experience in learning how to deal with the various challenges at hand. This then feeds into the bosses and the wandering encounters in the overworld, each of which has its own unique mechanics which you’ll need to exploit.
Actually thinking about it more this is probably one of the better examples of how to design to a pick up/put down style platform (the 3DS in Shovel Knight’s case). Each of the levels can be over in 10~20 minutes, even less for the wandering boss encounters or the other loot extravaganza levels, and all of them have their own style. Usually this would be something of a negative however in Shovel Knight’s case it actually made for a rather well paced game, one I invested a lot more time in than I would have otherwise done previously. Sure it wasn’t an exceptionally long game by any means but I still far more engaged with it than I have done with many of my previous reviews.
The story of Shovel Knight is fairly simplistic, usually being not much more than something to provide some witty dialogue between you and the boss you’re about to fight, but it’s more than enough to keep the game going. It really only comes to fruition in the last hour or so of gameplay and in that respect it does tie everything together quite well. However Shovel Knight isn’t a game you should be playing for the story as its mechanics are by far the strong point.
Shovel Knight sets the standard for titles that want to capture that feeling of games from ages past, faithfully recreating everything in a wonderful take on the old school action adventure. The graphics, music and sound all feel like they were ripped out of a long abandon title and then given life in a modern game environment. The gameplay, once you get past the initial teething phase, is very well done even if it can feel a little too easy at times. The story is probably the weakest aspect of the whole Shovel Knight experience but, thankfully, it doesn’t detract too heavily from it. If you’re a long time gamer like myself you’ll find a lot to love in Shovel Knight and I’d heartily recommend giving it a play through.
Shovel Knight is available on the PC, Nintendo 3DS and Nintendo Wii U right now for $15, $14.99 and $14.99 respectively. Total game time was 6 hours with 27% of the achievements unlocked.