I can think of a few titles where bugs or glitches were not only expected they were also thought of being one of the many sources of enjoyment of the game. The Elder Scrolls series is a prime example of this as their titles are almost always riddled with numerous bugs on release and Bethesda’s stance of not fixing the fun (but not game breaking) shows that many players get an awful lot of enjoyment out of their game behaing unexpectedly. I had yet to see a game where bugs, glitches and weird physics were actually the game itself until I came across Goat Simulator, a title from indie game developer Coffee Stain Studios. Whilst it’s definitely an unique concept there’s a limit to how much whacky physics fun you can have before you start to tire of it.
You’re a goat (surprise surprise) and the game centers around you being a goat in a section of a small town. Strictly speaking there are no objectives, there’s no over-arching plot to drive you forward nor any motivation provided for you being where you are, and so you’re free to roam the world doing as you wish. In traditional Goat spirit this of course means destroying anything and everything in your path, headbutting anything that might get in your way. Once you tire of that though there are many hidden challenges for you to unlock, some of which provide you access to powers beyond your wildest goaty dreams.
For a game that was slapped together in the space of a couple months Goat Simulator has a level of graphical fidelity that I honestly didn’t expect. It uses the Unreal 3 engine so you wouldn’t expect graphical miracles from it but the incorporation of atmospheric effects and modern lighting has Goat Simulator punching well above its weight class in terms of graphics. It still runs perfectly fine most of the time too (until you’re intentionally trying to break it, of course) something which, again, I wasn’t expecting. In all honesty for a game that was being touted as a bug ridden, hastily slapped together prototype there’s an incredible amount of polish. Much more than I’d come to expect from other developers of similar calibre.
Goat Simulator revolves around you being a goat that causes all sorts of carnage around the small suburban area that you find yourself in. In the beginning this will be pretty vanilla kind of stuff, destroying fences, headbutting people and generally running amok in the various areas available to you. This is all scored though so whilst your initial inclination will be to just ram things at random eventually you’ll try to figure out how to maximise your score. That’s when you’ll start to add a little strategy into your carnage, looking for places with a cornucopia of objects that you can goat your way through. Of course along the way you’ll run into the hastily slapped together physics that provides much of Goat Simulator’s entertainment.
I started out by just following the prompts to try out different things which serves as a solid, light touch tutorial that doesn’t get in the way if you just want to rampage through the town. This introduces you to how the scoring mechanics work which are pretty similar to what I remember Tony Hawk Pro Skating being like when I last played it almost a decade ago. So whilst you can headbutt that box 100 times in a row your score probably won’t go up by much as the game wants you to try a variety of different whacky things. This helps to add a little direction to a game that would otherwise have been thoroughly confusing without trying to impose on those who couldn’t care less about it.
After a while though there’s really only 2 things that will keep you playing: score and achievements. For the most part getting the highest score is just a matter of patience and not breaking the game too hard (as that can lead to you needing to restart it or the game crashing). something which can only take you so far. The achievements provide some fresh perspective on the game by giving you access to “powers” which can be anything from dropping dead goats from the sky to an impossible to control jetpack. If you’re like me though once you’ve done most of these the rest of the achievements don’t really seem that appealing and all you’re left with is a haphazard physics simulator.
Which, I have to say, is an awful lot less buggy than I thought it would be. You can make the physics engine do some crazy things but they’re really nothing above what I’ve seen in other games that were supposedly coded with good physics engines. You can get people stuck in the wall and launch yourself into the stratosphere but other than that there’s really not much else to speak of. Even when I was deliberately trying to make the game crash (by spawning dozens of other goats and using the console to fiddle with engine settings) all I could accomplish was making the physics engine and game slow to crawl. So if you were expecting a game that was absolutely riddled with bugs you might be disappointed as it’s really anything but.
Goat Simulator is a fun distraction that showcases the enjoyment that gamers can get from emergent game play. Whilst it’s far from the bug laden, glitch filled adventure that many touted it as the core game mechanics are still fun with the added benefit of a whacky physics engine just adding to the mix. It’s a short lived adventure however as whilst it’s fun to rack up a high score there’s nothing really to keep you interested once the achievements are gone and you’ve played with all the powers. If the idea piqued your interest then I definitely recommend grabbing it but otherwise you’re not really missing out on anything if you decide not to play it.
Goat Simulator is available on PC right now for $9.99. Total play time was 2 hours with 62% of the achievements unlocked.
Sometimes the things that happen after a review is penned are far more important than those that came before it. Diablo 3 is a prime example of this as whilst my initial impressions of the game were nothing short of amazement the tale of my experience after that is much more mixed. The challenge progression felt great, for a while, but once I hit Inferno the game shifted from being a conquerable challenge to an exercise in frustration. The auction house, initially a great source to give your character a quick boost, soon became the bane of my existance with all the items I needed far beyond my reach and the amount of griding required to get them far too high. It wasn’t long before I lost interest, alongside many of my long time Diablo fan friends. Blizzard was keenly aware of this however and the release of Diablo 3′s first expansion pack, Reaper of Souls, sets out to correct many of the missteps of its predecessor.
With the defeat of Diablo at the top of the crystal arch humanity was once again safe from his terror. However his essence was still captured in the black soulstone, unable to be destroyed even by the angels of heaven. Tyrael, now the mortal Aspect of Wisdom, has once again sought out the Horadrim to secret away the soulstone so that none may attempt to use it for their own purposes. However Malthael, the Archangel of Wisdom who had been lost ever since the destruction of the World Stone, had tracked the soulstone’s location. Whatever his plans are for it are not known but one thing is for sure, you, the Nephalem, are the only one who can stop him.
As you’d expect from an expansion pack Reaper of Souls adds a little more graphical flair to Blizzards’ flagship dungeon crawler although it’s nothing major like an overhaul of the graphics engine. The environments do feel like they have a lot more detail in them and the use of lighting and environmental effects is a lot more liberal, especially in the new areas. Still Diablo 3 is a game that’s meant to be fast paced so much of it is designed to run well without stutters or slow downs and with Blizzard’s reputation of being the low poly kings this ensures that the visuals are still on par with other current generation titles.
There have been some major changes to the core game play of Diablo 3 in Reaper of Souls, the vast majority of which have been aimed directly at addressing concerns that the community raised. The auction house is gone (both of it’s incarnations), the loot system revamped in a massive update called Loot 2.0 and the end game changed significantly adding in a new mode to replace the previous boss run meta that was the norm since Diablo 2. Additionally all the classes have had significant work done on their skills in order to make more of them viable for both end game loot farming as well as during your initial levelling experience. Suffice to say that whilst Reaper of Souls might only bring an additional act’s worth of content it adds an incredible amount of replayability, enough so that this feels like the game Blizzard should have released 2 years ago.
I actually jumped back onto Diablo 3 prior to the release of Reaper of Souls in order to try out the new Loot 2.0 system. Suffice to say I was very impressed as it only took me a couple hours to move from my less-than-stellar auction house purchased Inferno gear to a new set that was much more suited to my playstyle. It also didn’t take long for me to pick up a couple legendaries that completely changed the way my character was built, tempting me to try out builds that would have otherwise been completely unviable. Indeed even without those pieces of gear the various builds I experimented with all felt viable, a highly refreshing change to what I had to do previously.
Levels came thick and fast with my monk being able to reach 70 after a few nights worth of play. Indeed the levelling was so fast that I had pretty much reached level 70 before facing Malthael, only requiring a slight detour for the last push. The same can be said for Paragon levels that you’ll continue to amass after you reach max level, especially if you’re doing bounties or rifts often. The extra levels don’t add too much to the classes although the addition of another passive skill slot at max level does open up a lot of opportunities for builds that might not have been viable previously. The new monk skill, epiphany, is quite interesting although my current gear selection isn’t as effective with it as other builds. Whilst this might be disappointing to some (typically the new skills added in tend to be overpowered) I feel it’s a show of good design as the new skill adds variation whilst not being so powerful that its use is required.
The new way of running end game content is an obvious attempt to shift the current meta of boss runs for items to a more varied approach, incorporating a number of different types of runs that will result in a certain number of legendaries per hour. The first one is called Adventure Mode and is unlocked after completing the campaign through once. In this mode you’re given a series of bounties, usually things like “Clear out all enemies in the Den of Evil” or “Kill this act boss”, and for each of the ones you complete you’ll receive some XP and gold. Complete all of them within one act and you’ll receive a cache from Tyrael that contains a number of items, gems and health pots. This is in addition to any items that might drop along the way which will usually fill your inventory once for every 2 bounties completed. There’s also Nephalem Rifts which are randomly generated dungeons that require you kill a number of enemies before a boss will spawn and the Infernal Machines which pit you against super versions of act minibosses with a chance to drop legendary crafting materials.
The addition of the mystic, along with the minor tweaks to the crafting system, are welcome changes. The mystic allows you to reroll one stat on a piece of gear to another stat, making more pieces of gear viable. The costs of doing so are a little on the extreme side, especially for legendaries which all require a disenchanted legendary, but it can be worth it when you’re trying to min/max your way to victory. The limitation of only rerolling one stat is a little frustrating sometimes as you’ll often come across gear that’s got 2 junk stats on it but is otherwise fine but I can understand why this limitation is put in place. I’d probably complain less if crafting was actually worthwhile as currently the costs seem to heavily outweigh the chances of creating something that you’d use.
For the most part all of this adds up to a very enjoyable experience however I’d be lying if I said it didn’t start to feel a little grindy after a certain point. Sure my character is decked out in about half legendaries, some of them quite amazing, but the quest for items that improve my character has become somewhat arduous. I see as many legendaries drop as the next guy but even with my small collection I already have duplicates (quite irritating when you consider you can’t equip 2 of the same legendary weapon) and I’ve yet to see a solid upgrade in the last few days of play. It’s hard to fault Reaper of Souls specifically for this, it’s just the uncaring wrath of the random number generator, but grinding without the guaranteed reward of an upgrade at the end of it does sap a lot of the fun out of the experience. Now that I’ve said that I’ll probably do one run and get 3 upgrades in a row and all will be right in the world.
Diablo 3: Reaper of Souls is the game Blizzard should have released 2 years ago as it has managed to capture the enduring attention of so many of my Diablo fan friends where the original failed to do so. The revamps to the talent system, loot and addition of the mystic all add up to make the experience far more enjoyable and rewarding, removing some of the reliance on good rolls to give you the stats you require. Adventure mode is the end game that many were seeking originally, something that provides a bit more flavour to the traditional boss runs of yore. Of course this doesn’t absolve you from the grind completely and, if I’m honest, this will likely be the thing that drives me away from playing Reaper of Souls. Still it’s enough that I feel that Diablo 3 will resurface as one of the LAN games of choice as it’s a lot of fun to blast through a couple bounties or rifts with a close bunch of friends.
Diablo III: Reaper of Souls is available on PC right now for $49.95. Total play time was approximately 15 hours reaching Paragon level 56.
It’s been 2 years since I reviewed Mass Effect 3 and whilst the burning need I once had to spew forth vitriol has long subsided there’s still a part of me that can’t let go just how badly they handled the way the game ended. I’ve been told several times over that the subsequent DLCs made significant inroads to improving the situation however, for me, the damage was done and I felt it was better to put the series to rest in my mind. Overall it was still a wonderful game experience, one I do not regret playing at all, and it was my fervent hope that Bioware (and the game developer community at large) took the criticism to heart and would do everything to avoid such a situation again.
Turns out, they just might.
I managed to get into the Bioware panel at PAX Australia last year and it was interesting to see what the panelists, most of whom were writers and producers for the Mass Effect series, had to say for themselves. It was clear that the room was much of the same mind as I was regarding the ending, much to the chagrin of the person who was asking the question, and it was somewhat disappointing to hear them write off the reaction as mostly “you can’t please everybody”. It seemed then that the community’s desire for Bioware to take the criticism in stride had been met with deaf ears even if the DLC response had been somewhat positive. However recent news, whilst not been a direct apology from Bioware, might be their way of admitting a mea culpa on this part by allowing the player to heavily influence their next title’s ending.
News comes through today that Dragon Age: Inquisition will heavily incorporate the player’s choices into the ending. Interestingly the span of choices isn’t simply from a couple of distinct endings it will in fact include minor tweaks dependent on your choices in the game (and previous ones too), major changes depending on choices made within the game (of which there are 40 or so) and a handful of completely unique endings. If memory serves me Dragon Age wasn’t exactly the heavily player driven narrative like Mass Effect was, although the heavy variation in the origin stories was amazing, so the inclusion of so many different factors does seem like a reaction to the community’s reception of Mass Effect 3.
This was the kind of variation that players were expecting for Mass Effect 3. So much of the game was predicated on choices that you made, many of which had lasting consequences that shaped the world to be uniquely your own. To have all that choice boiled down to a modifier on the RGB spectrum felt like all those choices were essentially meaningless, stripping any feeling of agency you may have built up through each of the titles. With Dragon Age: Inquisition Bioware might be on the right path to restoring some of the community’s faith in them delivering a player sculpted narrative, one that feels unique to them. Whilst I, as always, try to avoid the hype for things like this news of this nature does make me excited for what Bioware has in store.
The number of games that were mobile exclusives that make the transition to another platform, whether that’s PC or consoles, is vanishingly small. It’s obvious to see why this is as many of the concepts used in mobile gaming like, touch input and interface design, simply don’t translate readily between those platforms. Platform transition issues have always been a problem for developers, as was shown with the consolization of PC games, but the problem space has been well mapped out over the course of the past decade. Mobile games still struggle with this unfortunately and whilst I really wanted to like Deus Ex: The Fall it was a glaring example of the struggles that developers face when doing mobile to PC transitions.,
You are Ben Saxon, an ex-military agent who served with the Belltower corporation during the Australian civil war. Your career with them was ultimately cut short when bad intel sent you straight into the middle of war zone, your entire team lost when your transport was shot down. However in the midst of all the chaos you managed to meet with someone, Jarron Namir, who recruits you into his special operations team called The Tyrants. With your new augs and all the resources you could ever want at your disposal the future looks good, that is until you uncover the truth about why you were sent into Australia.
Deus Ex: The Fall is a game based on the Unity engine and in that regard it’s actually quite impressive. The graphics are comparable to Deus Ex: Invisible War with a few lighting and rendering tricks helping it to feel a little more modern. Compared to Human Revolution though, a game that was released 3 years ago, it looks like a bad rip off. On a smaller screen, say a tablet or your phone, they’d look a little bit more impressive but on a PC it just feels streets behind everything else. This would mean that if you were craving a taste of the new Deus Ex universe and couldn’t run Human Revolution, for some reason, then it’d be a good place to start.
The Fall essentially a cut down version of Human Revolution in almost every sense, from the skill trees to the weapons to the environments that you’ll be playing in. It’s very clear that everything about The Fall was designed with the mobile market in mind with most of the levels and missions broken down into chunks that can be completed in 5 to 15 minutes. The core game mechanics are still there with the stealth functioning largely the same and the gun combat comparable but, again, modified for the mobile interface. Whilst there’s definitely been a non-zero amount of work done on the transition from mobile to PC the unfortunate reality is that The Fall still contains numerous glitches, bugs and weird quirks on game play mechanics that heavily mar the overall experience.
Human Revolution really got the stealth mechanic nailed down tight and it was nice to see that the majority of mechanics had made their way into The Fall. Most of the levels have numerous different pathways snaking through them allowing you to sneak up on nearly every enemy and take them out silently. However there’s a discrepancy between what you can see in first person mode and what the NPCs can “see”, allowing them to sometimes detect you through walls when, from your point of view, there’s nothing that can be seen. Once you’re aware of this it’s not too hard to work around however it’s a glaring reminder of the limitations of mobile as a gaming platform as I’ve never had this kind of issue with other stealth games on PC.
Combat is extremely clunky which, when coupled with the extremely rudimentary AI, makes it unchallenging and ultimately not satisfying. The recoil mechanic functions by zooming your view in and moving it up slightly, something which is horrifically jarring and doesn’t really add any challenge. Now I played Human Revolution as a primary stealth character and I played The Fall in much the same way however the times when I felt like it’d be fun to run and gun instead were stopped dead in the tracks because of how bad the mechanics are. It’s for that reason that I never really ventured into the buy screen as I could get past every section without using a single weapon.
The talent trees contain familiar upgrades including all the hacking and stealth upgrades from Human Revolution. They pretty much all function pretty much the same as they did previously with the main difference being just how quickly you’ll be able to unlock most of them. Much Human Revolution The Fall seems to be optimized for hacker/stealth players as the majority of things are hidden behind hackable panels and in long air ducts.I have no doubt that if you took the time to thoroughly investigate all of the levels you’d be able to unlock every ability without too much trouble as I managed to get ~60% of them before I got bored and just bypassed everything.
As I alluded to earlier The Fall suffers from many issues due to its transition from the mobile version of Unity to the PC. The first issue I noticed was that sounds just refused to play which also meant the subtitles didn’t stay up either. I traced this back to my headphones (a pair of Logitech G35s) as once I unplugged them everything seemed to work fine. It wasn’t limited to that either as the hacking screen would simply refuse to be moved around which was something of a necessity considering how limited the zoom was. I’m pretty sure this is due to the way you’d handle input on mobile (with DragStart and DragEnd events) which doesn’t directly translate to how PCs with mice work (MouseClick even and then track pointer movement). There were also some rendering issues apparent in a couple levels which wasn’t game breaking but was rather annoying.
The story was semi-interesting although it was so simplistic that it was hard to get into it. There are some familiar faces that appear in the previous games which I thought would be a cool way to give some more backstory on them. However they’re really only there to show their faces before the real meat of the game continues so it just feels like a tease to those who enjoyed the story of Human Revolution. Probably the worst part about it is the huge, glaring TO BE CONTINUED at the end which means seems to indicate that this is going to be an episodic adventure although we’re fast approaching a year since its initial release with no more content in sight.
Deus Ex: The Fall is yet another unfortunate example of how mobile-first games simply don’t translate well into the PC world. It feels like the same amount of time and effort could have been dedicated to implement this as a DLC for Human Revolution, something which I think would’ve seen this story done a lot more justice than what it was on the mobile platform. I may be singing a different tune if I had played this through on my phone but the fact is this was made available through Steam as a game for the PC. In that regard it’s hard to not call it as it is, a bad port that needed a lot more work to even be mediocre.
Deus Ex: The Fall is available on Android, iOS and PC right now for $10.49, $7.49 and $9.99 respectively. Game was played on the PC with 4 hours of total play time with 57% of the achievements unlocked including the pacifist one even though I killed multiple people.
The origin story of Respawn Entertainment is one that’s cemented in many gamer’s minds. Not long after Infinity Ward released Modern Warfare 2 tensions between some of the executive team and Activision began to escalate. This eventually led to Jason West and Vince Zampella being fired from Infinity Ward for “breaches of contract and insubordination”, a line not many in the industry believed. However not long after that the former employees announced that they were starting a new games company (with blackjack and hookers, obviously) called Respawn entertainment. It didn’t take long for many current Infinity Ward employees to follow them but after that they went dark. Last year Respawn announced their first title would be called Titanfall, a sci-fi FPS that would be an Xbox exclusive. Thankfully that, and a few other things, have changed since then and Titanfall has shaped up to be a great first title, even if can’t hide its Call of Duty roots.
It’s the distant future and mankind has succeeded in building warp technology, opening up the universe for our exploitation. Humans have expanded far and wide however with distance became a growing disconnect and resentment began brewing between the core worlds and those that live on the frontier. Over time this has escalated into a full scale war between the core world’s military force, The IMC, and the frontier’s Resistance. Neither side has any intentions of backing down and battles continually rage on multiple planets, devastating their colonies and turning paradises into giant fuel depots and factories dedicated to the war effort. You’re a pilot, one of the elite 2% who make it through the notoriously fatal training programs, and it’s up to you to fight for your cause.
For a game that’s based on a modified version of the Source engine (the same one that powered Half Life 2 all those years ago) Titanfall is surprisingly pretty with all the eye candy I had come to expect from games like Crysis or Far Cry. The initial settings that Titanfall selected for my system had me a little worried that it’d run like a dog once I started tweaking it but, surprisingly, it runs incredibly well with only a few things like shadow detail turned down. Still, as you can see in the screenshot below, those tweaks don’t appear to have a lot of impact on the overall visual quality something Respawn are to be commended for. You won’t be spending much time looking at the scenery however as Titanfall is designed to throw you head first into the action and it doesn’t let up until the round is finished.
Typically I’d go over most things from the view of the single player campaign first before talking about the multiplayer experience but Titanfall takes the interesting route of blending in single player elements into multiplayer matches to facilitate the story. It actually works out really well as a gentle way to introduce you to how Titanfall plays as you’ll likely be matched up against other people just starting out with it, ensuring that you’re not stomped by max level players who’ve already amassed hundreds of hours. The game’s story is also passable however since you’re always in the middle of the action when critical things are occurring it’s kind of hard to pay attention to it which is probably the only major letdown of the multiplayer campaign experience.
Titanfall has 2 distinct modes of gameplay, each of which has its own unique tech tree for you to customize to fit your playstyle. The first is a traditional style FPS experience with the added benefit of lots of mobility, including parkour style wall running and double jumping, and an array of weapons that are distinctly different to anything you’ll find in similar deathmatch style games. The second one happens when you call in your Titan from the sky, giving you a giant battlesuit with high powered weapons to take on both players and other Titans alike. How you customize your loadout, both for Titan and Pilot play, will determine how effective you are in certain situations and whilst there’s no one build to rule them all there’s definitely going to be one that suits you perfectly.
At first glance you’d figure that everything would revolve around Titan based combat because, come on, they’re giant mechs. Whilst this is partly true you’re given a heck of a lot of tools to deal with Titans as a Pilot. This isn’t to say that Titans are your biggest threat on the field however as you’ll likely spend quite a lot of time facing down with other pilots. Thus the larger strategic decision you’ll have to make when customizing your Pilot load out will be: do I want to be anti-Titan or anti-Pilot? The same choice applies to your Titan load out as well and will determine when you’re most effective in the game. Since you’ve got multiple loadouts to choose from this usually isn’t too much of an issue as you can build for multiple situations but each of them will need to be geared towards either one of those objectives otherwise you’ll likely find yourself ineffectual at both.
For me I chose to go for a primarily anti-Titan build for both my Titan and Pilot. I kind of fell into it as I kept tweaking my build throughout the campaign missions, trying out things that were used against me that I felt were pretty effective. The main exception to this is the smart pistol which is like having a sanctioned aimbot and is very handy in showing you where enemy Pilots are hiding. Of course its stopping power is somewhat limited, given its aimbot nature, but if you’re able to dance around someone long enough you’re guaranteed a kill. Walking around a corner into someone else will likely see you dead first, however.
However once I got past level 20 or so (which doesn’t take long to do, I think I got there in about 3~4 hours) my build remained largely static. Whilst I did encounter some other builds that were particularly effective at one thing or another they all seemed to be pretty limited outside of that. Indeed the best one I came across, the light Titan with the Arc Canon, wouldn’t last long after I landed a couple hits on it. Couple that with the Vortex Shield nullifying their fully charged shots most of the time and it made it hard for me to want to try anything different, lest I start getting owned. This is in stark contrast to the way I play Call of Duty where I’ll typically have 4 completely different builds loaded up just for variety’s sake, all of which I feel are viable. Maybe my build just fits into the way I play best but, honestly, whilst the initial customization options seem large they pale in comparison to similar games in this genre.
This, I think, is probably the one thing that could be Titanfall’s… downfall. There’s just not enough variety in the game to keep you going past a certain point as you’ll unlock most things relatively quickly and will tend towards things that work. There’s a whole mess of things in the game that just aren’t worth using, shrinking the pool of viable builds considerably. Whilst 15 maps sound like a lot you’ll get familiar with them quickly and apart from attrition all of the game modes are the same kinds of modes you’ve seen dozens of times previously. Thus in order to keep Titanfall new and engaging Respawn needs to keep releasing content, something which they’ve planned to do but I have no idea how well it will work should it not come out soon.
Titanfall is a gorgeous, action packed game that delivers a great multiplayer experience reminiscent of the Call of Duty series but with an identity that’s uniquely its own. The blended single/multiplayer campaign works well, functioning as an extended tutorial that ensures you know what you’re getting into before diving into the multiplayer in earnest. It’s let down a bit by the lack of variety which is exacerbated by the fast levelling process, which could affect Titanfall’s longevity for some. All that being said it is an incredible amount of fun to play and is a solid first title from Respawn entertainment.
Titanfall is right now on PC and XboxOne for $49.99 and $99.95 respectively with a Xbox360 release due in the near future. Total play time was approximately 7 hours, reaching level 31.
Ever since the Nintendo Wii was released back in 2006 there seems to have been a resurgence in non-standard peripherals for consoles although most are simply motion based controllers in a fancy case. The issue with non-standard hardware was, and still is, that game developers can’t rely on a consumer having it and thus many choose to simply not use them. It’s for this (and other) reasons that Donkey Kong 64 had to include the Expansion Pak as their game was inoperable without it and its distribution in the market place could not be relied on. However it seems that manufacturing costs have become cheap enough to make custom peripherals like this viable and thus they have returned in greater numbers than ever before.
The big issue I see with things like this is that once a good idea comes along it’s guaranteed that there will be a lot of copy cat ideas that come out not too long after. In the absence of any interface standards governing their interactions with the consoles this inevitably turns into an arms race of who can win the most support from developers, most often ending in a duopoly of two competing standards that will likely never completely agree with one another. Whilst I’m all for competition in the consumer space I’m also for an open set of standards so that I’m not forced to choose between two functionally equivalent products based on who or what they support.
Which is why Sony’s announcement today of Project Morpheus, their virtual reality headset, is slightly troubling to me.
Since it’s still in the prototype phase details are pretty scant on what its specifications will be but it’s apparently rocking a 1080p display (I’m guessing there’s 2 of them in there) and can apparently do full 360 degree tracking. Predictably the motion tracking relies on the PlayStation Eye accessory indicating that it’s probably got most of the same technology in it that the DualShock4/PlayStation Move controllers do. There doesn’t appear to be any headphones built into it but if it’s got all the same core bits and pieces as a regular PlayStation controller than I’m sure there’ll be a headphone port on it. Essentially it looks like the Oculus Rift did way back when it first debuted on Kickstarter, albeit far more reliant on Sony technology than their product will ever be.
Therein lies the crux of the issue with peripherals of this nature. Sure they add functionality and experiences that would be otherwise impossible to accomplish on the platform by their own but when they’re built like Sony’s, reliant on a whole bunch of things that are only available on that platform, I almost immediately lose interest. As someone who plays across multiple platforms in the space of a year the last thing I want to do is flood my living room with all sorts of one shot peripherals that have no use outside a couple narrow scenarios. Instead I’d prefer one that works across a multitude, something which is technically possible (I won’t tell you how much research I did into finding a cross platform compatible arcade stick for the fighting games I play) but rarely occurs in the wild.
What I’m really getting at here is that whilst I’m super excited for these kinds of virtual reality devices to become commonplace I also want a set of open standards so that when you buy one you’ll be able to use it pretty much everywhere. Oculus Rift has a big head start on everyone in this regard so I really hope that they’ve seen this problem on the horizon and are working towards a solution for it. With something like that in place companies could then focus on making the better headsets rather than trying to coax everyone into their ecosystem. It’s probably a pipe dream, I know, but it would be to the benefit of everyone if it happened.
The gold standard for stealth game play has, and probably always will be, the original Thief series. It wasn’t that it was one of the first games to get stealth mechanics right, I believe that title belongs to the Metal Gear series (even though I’ve never played any of them), more that the blend of mechanics, cues and emphasis on finesse rather than force made the series stand out amongst its peers. It’s been a very long time between drinks for the series though with the last title, Thief: Deadly Shadows, being released almost a decade ago. The latest instalment, Thief, is an attempt to reboot the series for a modern audience something which may be at odds at the long time fans of the master thief Garret
After taking a job from Basso, Garrett’s only friend and contact for all this nefarious and underworldly, you find yourself atop a glorious manor accompanied by your former apprentice Erin. However something doesn’t feel right about this particular job as you witness something strange, an otherworldly ritual that shakes the very world. You’re just about to pull out when Erin, who was watching the ritual from on top of a glass dome, falls. You try to save her but it’s too late and she falls down right into the middle of the ritual, disappearing from sight. Suddenly it’s a year later and you have no recollection of what has happened.
Thief certainly impresses graphically as all the environments pack in an incredible amount of detail, something which is key to the core game play mechanics. There’s atmospheric and lighting effects everywhere which can turn some of the most dull environments into wonderful screenshot bait. Having said all that I feel like it could’ve been better as whilst they’re definitely on the upper end of the scale there are some sections where it’s obvious that sacrifices had to be made for the large number of platforms that were targeted. This did mean that I rarely had any performance issues but I’m usually happy to sacrifice that for a little more eye candy.
Unsurprisingly Thief is a stealth game, one where the objective of your current quest can be completed in a variety of different ways. The tools you have at your disposal are wide and varied, ranging from tools that will help keep you concealed to weapons of massive destruction. There’s also two different upgrade systems that allow you to tailor Garrett’s abilities to your play style of choice allowing you to become the master of the shadows or a brutal predator that lurks around every corner. Indeed whilst Thief’s pedigree is in stealthy game play either play style seems viable, even a mix of both if either one of them starts to wear on you.
In terms of retaining the trademark feel that all Thief games have this latest instalment does it quite well. Whilst the environments aren’t exactly massive open world sandboxes like Assassin’s Creed there’s enough back alleys, secret pathways and rooms with tantalizingly locked doors to make the maps feel a lot bigger than they actually are. Thief certainly rewards players who take the time to go over everything with a fine tooth comb which I’m sure a lot of players will find rewarding. On the flip side it never feels like this is a necessary part of the game as you’ll find more than enough resources to keep you going if you just meander off the beaten trail once in a while. Whilst this might annoy the purists the inclusion of a custom difficulty mode turns this optional but rewarding task into a necessity, something which should keep them at bay.
The combat in Thief is understandably lacklustre, mostly because it’s obvious that out and out fighting isn’t the game’s preferred way of completing objectives. This is in stark contrast to other similar stealth games of recent memory (most notably Dishonored) where both paths were somewhat viable. You’ve still got the choice of killing or knocking people out to achieve your objective but should you find yourself discovered there’s really no way to get yourself out of that situation without finding a nearby hidey hole. I don’t necessarily count this against Thief as out and out combat is not what the series, nor the genre itself, is usually about. The option is there but its a blunt instrument in comparison to all the other tools you have at your disposal.
The stealth, on the other hand, is quite marvelous. With the highly detailed maps peppered with vents, corridors and passageways it’s guaranteed that every obstacle you encounter has multiple ways to bypass it. Indeed every time I found myself struggling with a particular section it was always because I wasn’t noticing the alternate path that was right before me, opening up options I didn’t know I had previously. There are some situations where trade offs have to be made though which can lead to some frustration but realistically it’s just about making the choice that’s right for your particular playstyle.
The game is well executed for the most part with no major bugs or glitches to report however the control scheme does feel a little bit awkward. Using the lean out ability can be a real exercise in frustration, especially if you wanted to pick something up from a chest or box instead of peeking around it. The same can be said for cancelling things, which can be right click or another key, leading to some heat of the moment confusion. Additionally dropping off a rope can’t be done with space if there’s no nearby ledge and instead must be done with X. It just feels like the interface lacks consistency and makes the more routine parts of the game harder than they need to be. This is somewhat excusable in survival horror games but it’s also one of the reasons that I have a tendency to dislike that genre.
Thief’s story is decidedly middle of the road sharing some similar threads to those of previous instalments in the series (secret society conspiracies laced with bits of magic) but there’s nothing particularly memorable about it. The initial build up in the opening scenes is far too short for us to have any emotional investment in the main characters and seems to rely on our previous experiences with the series to derive most of its impact. It simply doesn’t work as the vast majority of people playing this game haven’t been involved with the Thief series for the better part of a decade and much of the detail is lost to the ages. I’m a firm believer that a good story can make up for nearly any shortcomings that a game might have but unfortunately for Thief that isn’t the case and it’s lucky that it’s so strong mechanically.
F or a series that hasn’t seen a release in 10 years Thief delivers a solid game play experience, modernizing many mechanics without incurring the usual penalty of simplifying them too greatly for mass adoption. Thief doesn’t rely heavily on its pedigree in order to deliver a good experience, being able to create its own distinct identity through it’s well executed game mechanics. Unfortunately the story is the giant black mark on an otherwise highly polished experience, leaving this and many other reviewers wanting. Still it’s hard for me to recommend against playing Thief as it really is a solid game, just don’t play it for the story.
Thief is available right now on PC, Xbox360, XboxOne, PlayStation3 and PlayStation4 right now for $49.99, $79.95, $99.995, $79.95 and $99.95 respectively. Game was played on the PC on the Thief difficulty with 11 hours of total play time and 35% of the achievements unlocked.
City building games are a lot like open world and sand box titles, as whilst they might contain some form of over-arching narrative much of the true story of the game emerges from your interaction with it. I’ve avoided the truly open ended games for the most part, primarily due to their seemingly endless beta states, but that’s not to say I haven’t been intrigued by the stories they generate, far from it. Thus when the tales of people’s experiences with Banished started to percolate through the Internet I was intrigued as the punishing mechanics led many to give up in frustration, only to come crawling back the next day. I feel much the same way and the lack of a pre-determined win condition only made it worse.
Exiled from your home town you find yourself in charge of a group of villagers who need to make a new life for themselves. You start with little more than a pile of resources, somewhere to store them and a desire to not die in the first winter that will come soon enough. Over time however the challenge shifts from simply surviving to keeping your town functioning, making everyone happy and ensuring they have everything they need to keep subsisting. The longer you play the more intricate and delicate the equation you need to balance becomes as a mistake in one area can have effects that ripple far beyond where you think they did and, if you’re not well prepared, devastate your town.
Like most games which have a tendency to generate a lot of on-screen elements as they drag on Banished’s visuals are a relatively simple affair although they do look particularly nice when zoomed all the way out. Many of the buildings have a very similar look and feel about them, even though there is a bit of variation in the house models to break it up a bit, which can lead to some confusion when your town is tightly packed with numerous structures. It’s relatively easy to remember where you placed important buildings though and often you won’t need to hunt around for them anyway. That being said there does seem to be some notable slowdown when you’re scrolling around, even in the early stages when there’s not much on screen. This may be due to my preference to playing on 5x speed, however, although I neglected to test that out.
Banished is a city building game, one not unlike Anno 2070 where you’re on a never-ending quest to find more resources in order to grow your population so you can…get more resources. Compared to other city building games that come with tech trees and other intricately layered mechanics Banished is actually quite simple, mechanically speaking. You can essentially sum it up as needing to provide life’s basics to a group of people (food/water/shelter) and doing so in a way that allows the town to grow and prosper. Typically this revolves around finding ways to overcome particular resource shortages with the most forgiving of which just prevents your town from getting bigger whilst the worst could see everyone dead within a few short years.
In the beginning you’re focused on 2 primary resources: food and firewood. Building enough houses usually doesn’t take you too long however getting up a store of firewood and establishing a renewable food supply is one thing that’s likely to kill your town in its first winter if done too late. There are several methods to getting this done although my favorite was by far the quad placement of a forester, herbalist, hunter and gatherer which provided a bevy of resources that kept coming in continually. After a while however you begin to notice that the amount of resources required to build other buildings, the ones that will enable you to do more things, can’t simply be gathered anymore and you start needing more people to accomplish certain tasks.
This then pushes you towards the dangers of increasing your population at a rate that you can’t currently sustain, quickly showing any flaws you have in your city planning. Typically the first hurdle you’ll face is food as the surplus you generated over all those years starts to quickly evaporate. Then, not too long after, your workers complain of their tools breaking and they start to become inefficient at performing their assigned tasks. Considering one of these tasks is making more tools this can have devastating consequences down the line, wiping out a good chunk of your population because it was all predicated on things getting done in a certain time frame. Once you’re past those initial hurdles though the problems you’ll face become much subtler and can easily go unnoticed for decades of in game time.
Indeed my first town that made it past the 20 year mark, which suffered all of the problems I described above, seemed to be struggling to make use of the vast resources I had put before them. No matter how many more people were born I just couldn’t seem to provide enough of everything for them, the parable of Sisyphus running through my head. A quick bit of research showed that my entire town was uneducated and thus would be incredibly inefficient at performing any of their tasks. Including a school now wouldn’t solve the problem for years to come and, with an aging population and a declining birth rate, it was unlikely that would even save my poor town. Sadly I closed that game file and started again.
What followed has been a mildly successful town, reaching 300+ citizens in under 50 years with a surplus of food at almost all times with maximum happiness and a mostly educated population. The same problems propped up again of course however this time around I was able to head them off before they became too much of an issue. However new problems arose simply from the size of the population I was now dealing with and small decisions or events, placing a house in the wrong spot or a teacher dying, had effects that I couldn’t fathom. There are solutions of course but these are the sorts of things that you just don’t think about when you’re starting out and solving them can sometimes be more costly than just living with it.
For the most part Banished avoids some of the more major issues that have plagued other city building games however there still seems to be times when things go awfully wrong for no apparent reason. The screenshots above shows one of my population (one of many, unfortunately) taking a trip down to the bottom right corner of the map for no particular reason. This wouldn’t be an issue, tyipcally, however many of the people who embarked on this trip would come back cold, hungry or simply die on the way. Additionally whilst you’re able to dictate a number of people to a job you have no control on who does what job, sometimes leaving you with people travelling long distances to do work. You can fix this by removing all your workers and re-assigning them every so often but it feels like a solution to a problem that shouldn’t exist.
I was really surprised by Banished as when I first looked at it I figured it would be a couple hours of fun figuring everything out and that’d be it. However the initial simplicity belies the greater complexity that lies underneath everything, something which is only revealed to you the longer you play Banished. It has its flaws and once you get past a certain stage there’s a definite feeling of “playing the waiting game” so you can progress to the next stage but it’s hard to fault Banished for that when it managed to draw me away for so long. You’ll definitely need to enjoy the city building genre to really appreciate Banished but that’s about the only barrier to entry I can think of.
Rating: 8.5 / 10
Banished is available on PC right now for $19.99. Total game time was approximately 15 hours with 17% of the achievements unlocked.
If there’s one thing that I can’t stand in any game it’s visual tearing and stuttering. This is the main reason why I play all my games with v-sync on as whilst I, like any gamer, enjoy the higher frame rates that come with turning it off it’s not long before I’m turning it back on again after the visual tearing wreaks havoc on my visual experience. Unfortunately this has the downside of requiring me to over-spec my machine to ensure 60 FPS at all times (something which I do anyway, but it doesn’t last forever) or lowering the visual quality of the game, something which no one wants. It’s been an issue for so long that I had given up on a fix for it although there was some hope with a 120Hz monitor. As it turns out there is hope and its name is G-SYNC.
The technology comes by way of NVIDIA and it’s a revolutionary way of having the GPU and your monitor work in tandem to remove tearing and stuttering. Traditionally when you’re operating a monitor like I am your graphics card has to wait for the monitor’s refresh interval every time it wants to write a frame to it. In a highly variable frame rate game (which is anything that’s graphically intensive) this leads to stuttering where repeated frames give the appearance of the game freezing up. Flipping v-sync off leads to the other problem where the GPU can write frames to the monitor whenever it wants. This means that a new frame can start being written halfway through a scan cycle which, if there’s even a skerrick of motion, leads to the frames being out of alignment causing visual tears. G-SYNC allows the GPU to dictate when the monitor should refresh, eliminating both these issues as every frame is synced perfectly.
For me this is basically monitor nirvana as it gives me the advantages of running v-sync without any of the drawbacks. Better still all the monitors that support G-SYNC also run up to 144Hz, something which was going to be a requirement for my next monitor purchase. The only drawback that I see currently is that all these high refresh rate monitors are TN panels which aren’t as great when compared to the shiny new IPS panels that have been flooding the market recently. Honestly though I’m more than willing to trade off the massive resolution and better colour reproduction for solving my main visual gripe that’s plagued me for the better part of 20 years.
Unfortunately your options for getting a G-SYNC capable monitor right now are fairly limited. Whilst there are a good number of monitors that were recently announced as supporting G-SYNC none of them have become commercially available yet, with all of them scheduled for release in Q2 2014. You can, if you’re so inclined, purchase an ASUS VG248QE and then hit up NVIDIA directly for a G-SYNC upgrade kit (currently out of stock) and upgrade your monitor yourself but it will require you to crack it open in order to do so. There are places that will do this for you though but they too are out of stock. Still for something like this I’m more than willing to wait and, hopefully, it will mean that other components of my new computer build will come down a touch, enough to justify the extra expenditure on these new fangled monitors.
Ever since I played Dear Esther I’ve been on a quest to figure out why it rubbed me the wrong way. It’s not like I don’t enjoy exploration games, indeed I’ve played numerous since then and typically found them to be quite entertaining, and you don’t have to look far to figure out that I’d favour a good story over game play. Dear Esther then should’ve been right up my alley but something about it just made me hate it in a way that I haven’t felt for many other games. Playing through Journal though revealed where my frustrations came from: the deliberately vague and abstruse way the story was delivered. Where Dear Esther frustrated though Journal used to great effect, although not without some initial frustration.
You wake up one morning to find your journal, the precious record of all your thoughts and experiences, mysteriously blank. Venting your frustrations to your mother seems to lead to no where and as far as you can tell everything else seems to be going on as normal. However it becomes clear that more things are happening outside the world that’s being presented to you, things that are having a big impact on everyone around you. It doesn’t seem to be changing you however something which seems to be equal parts weird and strangely welcoming.
Journal’s art is interesting as it feels like you’re playing through a cartoon of someone’s drawings in their diary. I can’t say that it’s hugely impressive, especially with the rudimentary animation and effects employed, but that’s not the kind of thing you’d expect from a game of this nature. The small circus sections serve as a visual break between sections, a good inclusion that heaps alleviate the fact that Journal heavily reuses nearly all the scenes throughout the entire game.
Mechanically Journal is a puzzler, requiring you to figure out who needs to be talked to, what needs to be said and which outcome you’re looking to achieve. In this respect it’s pretty simple as all you have to do is figure out who you haven’t talked to yet and go through the motions with them. Indeed even if you manage to forget exactly what it is you were supposed to be doing one of the characters will likely turn you around in the right direction which makes the pacing of Journal much more steady than other games in the genre. You’re also given a wide selection of dialog options to choose from which will shape what the story ultimately becomes.
Unfortunately Journal feels a little awkward mechanically as the main ways of interacting with it are always a little off. Things like the inclusion of a jump mechanic, which seems to have no other function but to give you something to do between scenes, make you think there are more puzzle elements than there actually are. Additionally the dialog options are hidden by summaries that are way too short to predict how your character is going to react and you’ll often find yourself wondering how the option you chose lead to the things your character said. This might be intentional (as I’ll talk about in a bit) but it still feels like this is a known anti-pattern in game design, one that needs to avoided at all costs.
From the onset it’s clear that the game isn’t telling you everything as there’s references to things that have happened or are in the process of happening that you don’t see. This is fine when it doesn’t involve your character, you can’t be there for every little plot detail, however since the whole story is centred on you this means the initial parts of the story are thoroughly confusing. Indeed even whilst you’re given control over how all the conversations play out it’s quite clear that one of the options is the “true and correct” one while the others lead to situations that just don’t quite to fit with reality. This also leads to your character being almost completely unrelatable for the majority of the game only coming together right at the end.
POTENTIAL PLOT SPOILERS BELOW
It’s obvious after the first couple days that this is a fantasy world, one that’s being recreated to fit an idealistic world created by the main protagonist, but the lack of critical information means that the majority of the initial story is just plain confusing. Whilst I was able to relate to the character’s struggles after the big reveal I could in no way do that before I knew what could lead someone to act in such random and unpredictable ways. To be fair it does represent the struggle that teenagers face, dealing with adult emotions yet not having the tools to both express and understand them completely, however that doesn’t mean it makes for good story telling. The pay off somewhat makes up for this but that doesn’t stop the majority of the game from feeling like a chore.
PLOT SPOILERS OVER
Journal is an incredibly personal story that reflects upon life’s greater themes through the eyes of someone who is not yet equipped to deal with them. The concepts are great however the game falls short of delivering a good experience with the main character obliterating any sense of relatability early on and the story remaining utterly confusing until the very end. Journal is a game that I want to like a lot more than I do but it’s incredibly hard to look past the faults even if the story will strike a chord with many of us. I bought Journal on the back that it was made by the man behind Kairo and, honestly, I can only recommend you do the same if you are also a fan.
Journal is available on PC right now for $9.99. Total play time was 1.7 hours with 60% of the achievements unlocked.